Τετάρτη 27 Ιανουαρίου 2010

What is Ki ?

The interview was made by Aragon from Iokai Shiatsu School in Den Bosch, Holland in 1996 with Yoshigasaki Sensei.

1. What is Ki ?

Ki is a Japanese word which is written with a Chinese character so there is a Chinese meaning and a Japanese meaning of the word Ki which are very different which creates much confusion. Of course for the Chinese meaning -I suppose that the Chinese pronounce it as Qi or something like that-you better ask the Chinese people, but since I am Japanese I prefer to use the word Ki in the Japanese way. So in the Japanese meaning Ki is something which is unclear, something that cannot be defined. In daily life it means something like feeling , sentiment or emotions or ideas which are not yet clear but will become clear later. Or some motivation, etc, etc. That is why to understand Ki is very important in the sense that it is a process of understanding one's own life and understanding ourselves.

2. Sensei, do you have a certain goal by teaching the form of Ki-classes and also Ki-Aikido?

Teaching in the Ki-class is in a way the basic. But then the thing is that the practice of Ki is in daily life, that's the only way; but that is rather difficult. That is why i do this Ki-Aikido, meaning we use Ki-principles for the practice of physical martial art Aikido so that people have a good exercise and the practice of Aikido can be integrated in one's daily life and in this way it is easier for people to continue. Another reason is, that by practicing Aikido techniques certain Ki-things are much easier to explain and understand. So I really think that Ki- Aikido is a very good form to practice Ki.

3. When people are talking about Ki, there could be still a shadow of the martial arts like Aikido. Do you have any examples if(??) non martial development in people?

Ki practice is good for everybody, but the thing is that on a superficial level it is very easy for everybody. Whenever you want to go to a deeper level, you have to live with it. That is the difficulty. So normally people need some physical activity which could be something like Yoga or Taichi, or a therapy, it doesn't really matter what. But then it is clearly better if people can use Ki-principles in the physical activities. That is why Aikido is good, but if other people can use Ki-principles in their daily life that is also fine.

4. Sensei, you explained about the difference between Ki class and Ki-Aikido, but could you specify on your goal in a bigger meaning, like why are you teaching Ki anyway?

Why I am teaching Ki is because nobody else is teaching it; that is basically why. But actually, at home I sometimes ask myself the question why I am teaching. When I hear other teachers teaching quite nonsense or mistakes, or when I see meditation books; most books are quite nonsense. So my motivation is since there are so many wrong teachings in the world, somebody should teach the correct thing. That is the only motivation of my teaching.

5. Could you give me a definition of science, and also an indication of what science is doing to our society?

There is the original science from Greek time. I suppose that in the Greek period the science was research of nature and the universe and the human being etc, etc. So this continues until the fifteenth century, before industrial revolution, and the scientists are at the same time artists like Leonardo da Vinci, etc, but also philosophers, so these are all connected. But then after the industrial revolution in England, science became very material because they could use science for the purpose of the material progress of industrialization. So after that industrial revolution science became very material, which is not so good for life, since material science is based on the material principle. Now people are starting to use science for life, because clearly the last, let's say twenty or thirty years, we have seen that material progress is not enough. But then, especially university professors who try to understand human life with science called it human science, or something like that. Here arises a danger because it is fundamentally wrong to apply material principles on life. So these mistakes are doing harm to our life and will create more harm in our life.
That is why it is my purpose to propose something which can replace material science; meaning with something that has a structure as good as science.

6. Sensei, what means 'Shin Shin Toitsu', and 'unity of mind and body'. Is it the same as coordination of mind and body?. What is mind, and what is spirit?

Both unification of mind and body, or unity of mind and body, and coordination of mind and body are the translation of the Japanese or Chinese words, so it is the same thing. This unification of mind and body, I don't know who started this idea; maybe Zen people or maybe Chinese people, I don't know. But this unification of mind and body is only a small part of what i am teaching. It's a good concept, but not so important.
Mind is a concept: something which moves body. That is the normal concept of mind. Spirit is a religious word, so actually i never use the word spirit. For me, spirit is a word for religious people who believe ine God.

7. In the light of what you just explained, could you give me a definition of the word meditation?

Meditation too is an English word, and actually I don´t know who invented it. I can't find any Japanese word which corresponds with meditation, so it is something which I don't know quite well. Let us say it is a convenient word to describe certain activities with which we can try to understand our own life in relation to the world. So in a way I use the word meditation to imply the activities to unify ones life and the whole world

8. Sensei, Ki and breathing seem to go together. Why is this, and is there a reason why we in general are breathing so inadequate?

So Ki is something which is not clear, but which becomes clear later. For the most people breathing is also Ki, because most people are unconscious of their own breathing. Sometimes the breathing becomes evidently disturbed without people noticing it; so to practice Ki in the daily life is one way to understand one's own breathing. But then, to do this you must also understand the practice of breathing as a basic practice of the diaphragm, which must move well. That is the basic practice. And then after that we do the practice of no breathing, which means you must know your own breathing.

9. As I can feel myself, better breathing has a lot of implications. Is there more to say about the physical consequences of good breathing? What about the relationship between breathing and emotions, and with awareness?

The influence of good breathing for health, well I suppose that good breathing helps to keep good health. I don't have the statistics, but I hope that it is so. For the emotional part too. Many people don't notice when they are breathing in a wrong way. Clearly, when you are breathing in a wrong way, your emotions are disturbed. Actually there is no problem with emotions; only disturbed emotions, which means that breathing is disturbed. So with practicing good breathing your emotions become clear and undisturbed. Then you'll find that to have emotions is good, and in a way all emotions are nice.

10. What is emotion?

Emotion is a movement in the body provoked by or related to the movement of the diaphragm.

11. Could you give me an idea of the functional meaning of emotions? why do we have emotions?

I don't know why, but mostly when we perceive something outside, we have a reaction. When this reaction is not harmonious then the part which is not harmonious must be expressed by the movement in the body. So in a way to have emotions is always very good. The only thing is that when you are breathing in a wrong way then your diaphragm is not moving correctly, so the inside movement is not harmonious, and not doing good for the body. And if emotions do good for the body that's fine, but the reality for most people is that emotion disturbs the body, that is the problem.

12. Could you give me some idea of awareness; what is awareness? did you see any improvement of awareness by Ki breathing or Ki practice?

This word awareness too is a word which i almost never use, because I don't really understand the meaning of it. So I cannot answer the question. But i can say why I don't use the word awareness. To be aware means you perceive something which you did not perceive before. So clearly it is impossible to practice awareness because you can never practice to be aware of something. That is why when your mind is free, then there is a possibility that you can be aware of new things. That is why I never use the word awareness when i teach people.

13. Excuse me, I missed your definition of awareness.

To be aware of something means to perceive something I didn't before. It is a discovery, that is why we cannot practice it, because we cannot practice discovering. We can discover only when the mind is free, so the practice is to keep our minds free.

14. Sensei, I often heard you explain that Ki class is for our own development, and that meditation is something else than therapy. But in what way could a Ki class be interesting to a therapist. Could a therapist become a teacher of Ki?. Is that the meaning of the word setsudo?

First of all, Ki practice is for one's own life. Whereas people who are interested in therapy are mainly interested to cure other people, so they are interested in other people. But then, the technique to do something for other people, to deal with other people, and the technique to deal with oneself are different. That is why I always say that this mediation or Ki practice is not therapy. I found to explain this very important, because especially the psychology, people who practice psychotherapy use the theory of psychology, which is based on observation of other people. Whereas for meditation the theory is to observe oneself. I found it is especially important to see the difference between meditation and psychology. That is why I always make that clear so that people don't use meditation as a psychotherapy.
And then, this setsudo is a Japanese word of which I don't know who started to use it. It means to teach truth.
So as a teacher too, there are two types of teachers. Teacher who teaches techniques which is good for, in a way, everybody. Actually most teachers are like that, especially school teachers. But then this meditation teacher is different in the sense that meditation is what I see in my life. So I know my life, but I am never sure that what is good to my life is good to other people. The meditation teacher only knows something that is good to himself, and doesn't know if that is good to others. So I hope that what is good to me will also be good to others, but I am never sure. That is why in meditation we never force people to do it; we just suggest and if people like it, they do it. But people do in their own responsibility. But whereas for other types of teachers, they teach what is good for other people; they must have enough experience to know people and what is good for the people. That is the difference between the two types of teachers. But then it is that most teachers are of the second type, that means teachers who teach good things for others.

15. In the Ki sayings there is mention of unification of mind and body. What comes out of this is that everybody has a lot of power, which they has not always available. Could you explain a little bit about what you mean by power? Still, for many people this Ki class is related to healthy people and martial arts. Could you give me some examples maybe for just common people, old people who don't have special physical abilities?

It is quite simple actually. There is a problem with the translation. This power means the ability to create change in life. E.g. if you are sick and you cure yourself - a sick person becomes a healthy person, that is power. Or if you have a big problem and you solve this problem, that is power. If everybody is excited and you are calm and clear, that is also power. So whatever that makes a change in life is power. But then clearly, by understanding mind principles and understanding body principles you can create better change in life.
That means you have more power, that is the meaning of it. And then, you have to understand one principle, and one principle means unification of mind and body.

16. I also asked this question because in the book " Ki in daily life" by Koichi Tohei Sensei, what strikes people most is the picture of you: heels on a chair, head on another chair and three people sitting on your belly. This is very close to magic for most people. But of course it is also suggesting some physical power. Why are you using this kind of examples in a book?

Actually it is not me who is in it. It is Tohei Sensei. There are two things. Since he started with Aikido he had experience with people who did Aikido, that means people who were not so interested in intellectual exercises. So clearly with people like that it is easy to use physical examples. And also that it is the Japanese culture that people don't like logic with words, but more action with the body. So if you want to reach the Japanese people it is better to express with a powerful body and not so much with a powerful mind or powerful word. So it is a cultural thing. I understand very well that that method is not so good for European people

17. Could you give a clear example of an image for teaching Ki to the European men and women?

It is also that the Japanese people have a very easy solution for the problem of thought. They just push away thoughts and do something physically. So in a way that is the Japanese tradition: that's why they propose physical methods. European people try to continue thinking and to solve with thinking; that is why I think it's better for European people to use words and to explain very well things. And the physical exercise should be used only to help understanding with word. So far I think that is good for European people, because they should have a solution with word. They don't like pushing thoughts away.

18. Of course you too, some time in the past started practicing Ki. Could you give me an idea of what this meant to your own daily life?

For my daily life nothing because I started this kind of things of, let's say curiosity, so it was more like a research. For me it is just like doing scientific research. I do research for life.

19. Do you like your job?

Yes, yes.

20. When teaching Ki Aikido you very often, I recall, use the concept of gravity to explain and guide movement. Could you give me some explanation of why gravity is so important for us?

No in the daily life, gravity normally is not important at all to us. It is only when you do Aikido techniques that it becomes more important. But then, even for people who don't practice Aikido it is important to understand gravity. Many people have a wrong concept of gravity, and with this wrong concept they create mistakes in the daily life. That is the only reason why I teach this ´keep weight underside´ in the Ki class for people who don't practice Aikido. For Aikido technique, clearly it is very important.

Σάββατο 23 Ιανουαρίου 2010

Koichi Tohei

Koichi Tohei (藤平光一) is a 10th Dan aikidoka and founder of the Ki Society and its style of aikido, officially Shin Shin Toitsu Aikido (literally "aikido with mind and body unified"), but commonly known as Ki-Aikido.
Koichi Tohei was born 1920 in Shitaya ward (下谷区), presently Taitō, in Tokyo. As a boy he was sickly and frail, leading his father to recommend Tohei for judo studies. He trained hard and his body prospered, but soon after he began his pre-college studies at Keio University, he developed a case of pleurisy, an inflammation of the lining of the chest (lung) cavity which causes great pains in the chest area with breathing. This forced Tohei to take a year off.
Tohei was distressed at the thought of losing his newfound strength of body and his means of training it, so he decided to replace his judo studies with Zen meditation and misogi exercises. As with his judo studies, Tohei entered the training of the mind with fervor and soon excelled despite his serious health issues. After his recovery from pleurisy, of which the doctors could find no trace, Tohei became convinced that it was his efforts in training his mind and cultivating his ki that had helped him to heal and recover. This stimulated his later development of Kiatsu, a system of treating physical illness by pressing with the fingers and extending the ki into the ill persons body. Tohei describes this as "priming the pump" allowing the person to heal themselves.
After his fight with the pleurisy he returned to his judo studies, but they were not satisfactory for Tohei; he wanted more than just physical training and did not think that judo was the right art for him to practise, although he did continue with studying judo until he started with aikido.
In 1940, when he was 19 years of age, Tohei's judo instructor, Shohei Mori, recommended that Tohei meet with the founder of aikido Morihei Ueshiba. At this point Tohei was dissatisfied with judo and set off to see the master of this new martial art he had heard of.
According to Tohei himself, when he first met with an aikido instructor and practised some techniques at the Ueshiba dojo, he had doubts about aikido and its value to him. That changed however, when Ueshiba entered the Dojo and started to perform his techniques on the instructors. Tohei was still not entirely convinced until Ueshiba asked Tohei to step unto the mat and try to grab him. Tohei's attempts were unsuccessful, and after this personal demonstration by Ueshiba, Tohei asked to enroll on the spot. Tohei would also continue to train his mind as well as his body with meditation, misogi and aikido.
Tohei trained with Ueshiba for six months before being sent as a representative (dairi) to teach at the Shumei Okawa school and the military police academy. This was before Tohei was ranked as either dan or kyu. Ueshiba would present Tohei with the rank of 5th dan after Tohei had begun his military service.
Like so many other Japanese youths at the time, Tohei was drafted into the Imperial army in October 1942. He saw action in China and was stranded there at the end of the war until his repatriation in 1946. According to Chinese records, Tohei's tendency to treat captured Chinese soldiers well led to Chinese authorities avoiding his unit when they attacked. Tohei is said to have left China with more soldiers than he started with.
In 1953, Tohei was sent to Hawaii to introduce aikido there. From then on, Hawaii became a center for the diffusion of aikido in the United States and, later, of Tohei's particular style. In 1969, Tohei was asked by Ueshiba to accept the new rank of 10th dan, which Tohei accepted, after having previously refused the same offer. The top rank in aikido had been 8th dan, but the ranks were expanded by Ueshiba for practical as well as political reasons.

The events leading up to the split between the main Aikido-organization of Aikikai and Koichi Tohei were further fueled with the death of Morihei Ueshiba in 1969. His son Kisshomaru Ueshiba would inherit the title of Doshu. At the time of Ueshiba's death, Koichi Tohei was chief instructor of the Hombu Dojo, the headquarters of Aikikai, a title he would retain until his official split from Aikikai in 1974. One of the major causes of the conflict arose from Koichi Tohei's emphasis on his principle of ki in aikido. Tohei wanted aikido to focus on these principles, using practical exercises to both cultivate and test Ki in the daily aikido practice. He had already started teaching his new ideas during his own training sessions at Hombu dojo, but the majority of the other instructors would not. There were some who agreed with Tohei's approach, but Tohei's actions were not welcomed by Kisshomaru and most of the senior instructors. They strongly encouraged him not to teach his principles and techniques in the Hombo Dojo. Tohei replied that he had the right to teach it outside Hombu Dojo, which he did.
But the tensions still remained among the senior cadre of instructors, who still did not approve of Tohei's focus upon ki. These brewing tensions together with Tohei's general dissatisfaction with the situation culminated in 1971 when he created the Ki No Kenkyukai, with the purpose of promoting the development and cultivation of Ki inside aikido, but outside the Aikikai "umbrella". The years of conflict would finally cement Tohei's decision to break away from the Aikikai and teach his own 'ki' style of aikido. So, on the 1st of May 1974, Koichi Tohei officially left the Aikikai organisation to concentrate on his newly created Ki-aikido and Ki-society.
On the 15th of May, Tohei sent a letter in English and Japanese to the majority of the dojos both in Japan and abroad, explaining his reasons for the breakaway and his plans involving Ki-aikido and the Ki-society. This breakup came as a shock to many aikidoka throughout the dojos of the world. Tohei was well regarded by many instructors and students. He was seen as the foremost sensei of Aikido after Ueshiba's death. This, in turn, led to several dojos breaking with the Aikikai and joining Tohei in his new style. Tohei's new objective was to coordinate all the dojos who joined him and incorporate them into the organisation of Shin Shin Toitsu Aikido: "Aikido with Mind and Body Coordinated". This branch of aikido is still active today even though Tohei himself retired from the day-to-day business of the Ki-aikido section, and now concentrates solely on the Ki-society and further personal development of ki.

Both before and during his position as head instructor at the Hombu Dojo, Tohei instructed many notable aikidoka. Several of these have since made lasting impacts on aikido in general. Among these are:
  1. Koretoshi Maruyama, former Chief Instructor and President of Ki Society, who has since founded the independent Aikido Yuishinkai International style of aikido.
  2. Shizuo Imaizumi (今泉鎮雄), 7th Dan Shin Shin Toitsu Aikido, who founded the independent Shin Budo Kai style of aikido.
  3. Calvin Tabata, 8th Dan Shin Shin Toitsu Aikido,and founder of the NW Ki Federation. He holds an Okuden Ki rank, is a full Lecturer in the Ki Society, and is the Chief Instructor of the Personal Kiatsu School. He began his training in Hawaii and is a lifelong direct student of Ki Society founder Koichi Tohei sensei. Tabata sensei has been teaching in the Northwest since 1970. He established the Oregon Ki Society in 1974 and the Personal Kiatsu School in 1993.
  4. Koichi Kashiwaya, 8th Dan Shin Shin Toitsu Aikido, head Ki-Aikido instructor for the USA.
  5. Ken Williams - Founder of the Ki-Aikido Federation of Great Britain.
  6. Kenjiro Yoshigasaki, 8th dan Shin Shin Toitsu Aikido, who was a pioneer in spreading Ki-aikido in Europe and has since founded the independent Ki no Kenkyukai Association Internationale organisation.
  7. Fumio Toyoda, 6th Dan, founder of the Aikido Association of America and Aikido Association International.
  8. Shuji Maruyama founder of Kokikai Aikido.
  9. Steven Seagal, 7th Dan, American action movie actor, producer, writer, director and a Blues singer-songwriter.
  10. David E. Shaner, PhD, 7th Dan, Chief Instructor of the Eastern Ki Federation and chair of Furman University's philosophy department, where he specializes in Japanese philosophy.
  11. Kenji Ota, featured in a series of Panther Productions Ki-Aikido instructional videos, along with being a champion ballroom dancer and father of 5th Dan, Steve Ota.
http://en.wikipedia.org/wiki/Koichi_Tohei

Κυριακή 17 Ιανουαρίου 2010

Shodo video lessons

Shozo Sato Caligraphy Demonstration





Japanese Calligraphy with Mayumi




Shodo History

Shodo History

What is Shodo?
Special thanks to student Jenna Cullen for the content of this article.

Shodo, or the art of Japanese calligraphy, is an ancient art separate from any other creative work. It differs in that its main focuses are simplicity, beauty, and, most importantly, a mind-body connection. However, despite its differences from what most individuals would define as art, true calligraphy is achieved by applying the elements of art, specifically line, shape and space.

In producing any piece of Japanese calligraphy, mastering the element of Line is an absolute essential. The shape of the line assists in displaying the desired effect of the artwork. Often the line is drawn with a specific focus such as love, determination, or positivity. These feelings can often dictate the type of line that follows (e.g., whether it is wavy, straight, or curved. The tension of the line can also be created in this fashion.

In conjunction with Line, mastering Shape is also an important aspect in producing any Japanese symbol. Because calligraphy is achieved with dragging, pressing, and sweeping techniques, no outlining or drawing is ever used. In creating art other than symbols, especially in Chinese calligraphy, nature is a prominent theme. Organic shapes such as trees, leaves and flowers are common subjects for Chinese or Japanese artists. Because the culture behind calligraphy is continually focused on the beauty and wonder of nature, inorganic shapes such as geometric figures or human-made objects are seldom painted.

Furthermore, the element of Space is essential in creating a beautiful calligraphy piece. It is crucial that the artist remain aware of the placement of each line, especially in more complicated symbols. Often, the artist is required to visualize where each line will start, stop and meet before he even touches the brush to the paper. Without undivided attention to spacing, the finished symbol will fail to appear as desired, even with the most perfect lines and shapes. Presentation and careful placement is one of the aspects that help in giving Japanese calligraphy its distinct beauty.

In sum, Japanese calligraphy to the common eye may seem uncomplicated or even bland. However, the creation of such a simplistic piece involves the knowledge of several difficult skills, and the mastery of all the elements of art, specifically those described.

What is Zen Calligraphy?

Japanese philosopher Nishida Kitaro (1870-1945) believed that true creativity is not the product of consciousness but rather the "phenomenon of life itself." True creation, he stated, must arise from mu-shin, the state of "no mind", in which thought, emotions, and expectations do not matter. Truly skillful Zen calligraphy is not the product of intense "practice"; rather, it is best achieved as the product of the "no-mind" state, a high level of spirituality, and a heart free of disturbances.

To write Zen calligraphic characters that convey truly deep meaning, one must focus intensely and become one with the meaning of the characters they create. In order to do this, one must free his/her mind and heart of disturbances and focus only on the meaning of the character. Becoming one with what you create, essentially, is the philosophy behind Zen Calligraphy.

The information for this article comes from the book Zen Brushwork: Focusing the Mind With Calligraphy and Painting, by Tanchu Terayama, et al.

What are the Historical Origins of Shodo?

Shodo has origins in China, where over 3,000 years ago pictographs were carved into tortoise shells and cow bones as part of religious ceremonies. Overtime, people began carving these same pictographs on bronze and other metals. Altogether, the early forms of the characters used commonly in shodo lacked the evenness in size and shape that today's characters have. Still, they clearly serve as the pictorial origins of the shodo characters in common use today.

At the start of the thirteenth century BCE until the fourth century BCE, the wide variety of pictograms in use in China were consolidated into a form of character script called daiten (greater seal script). By the ruling era of the Ch'in Dynasty (221-206 BCE), government officials further standardized the character script; from that point on it became known as shoten (lesser seal script), which is still in common use today on seals for official documents. During the Han Dynasty (206 BCE - CE 220), shoten was further developed into reisho (scribe's script), which was characterized by bold horizontal brushstrokes.

After the development of reisho came sosho (grass script), which preceded kaisho (standard script) and gyosho (running script), the character forms most commonly used today. Kaisho can be thought of as a "block" style of character writing, while gyosho can be thought of as a form of "cursive" or "script". Sosho, however, is written so simply and symbolically that eyes untrained in deciphering calligraphy can rarely read and understand it.

Because the letter set in use in shodo, a Japanese art, has its origins in China, it is referred to as kanji in Japanese, which literally means "Han letters" (for the Han Dynasty in China). The Japanese refined Chinese sosho characters by simplifying them further to create the hirigana character set. Today, written Japanese is primarily a mixture of kanji and hirigana.

The information for this article comes from the book Zen Brushwork: Focusing the Mind With Calligraphy and Painting, by Tanchu Terayama, et al.

http://www.zenshodo.com/history.htm

What is Shodo (Japanese Calligraphy)

What does Shodo mean?

Shodo is Japanese calligraphic art.The direct English translation for Shodo is "The Way of Writing". It is considered one of Japan's traditional cultural arts. Sado (Japanese tea ceremony), Kado (Japanese flower arrangement) and Budo(Japanese martial arts) are also well-known cutural arts of Japan. Children in Japan learn Shodo at school, but as with other traditional cultural arts, it takes a long time and a lot of practice to master the art of Shodo.

What do you write in Shodo?

As with other cultural arts, learning Shodo starts with imitating the Master's Art. Children at school imitate the Shodo textbook, children who take Shodo lessons imitate their teacher's work. Advanced Artists imitate the works of Great Shodo Artists from centuries ago.

Imitating the great works of the past is called Rinsho, and is one form of artistic expression in Shodo. This may sound strange to you, but think about classical music; people today play the works of Beethoven and Mozart, which is considered a form of artistic expression rather than "copying" someone's art.

With enough experience of Rinsho of different works and different Artists, you are ready to add your creativity to Shodo. Some artists create Art inspired by the great works from the past, while others create unique styles.

Different Types of Characters for Writing

The main difference between Shodo(Japanese Calligraphy) and Chinese Calligraphy is that Japanese Calligraphy has multiple types of characters for writing compared to Chinese Calligraphy.

In Shodo, there are mainly three types of characters;

Kanji (Chinese Characters)
These letters were imported from China around the 3rd century. As Buddhism came in from China and Korea around the 6th century, Kanji became more important in order to read and write the Sutra. Kanji was also arranged and used to express the Japanese language because Japanese did not have a form of writing before that time.
Each Kanji has a meaning in itself, and could have multiple ways to pronounce the letter. The letters are used in combination to express words, phrases and sentences. Over the years, details of some of the characters have changed, but even today, Chinese characters used in Japanese are same as what are used in Chinese.

The main themes of Kanji Shodo Art are copying the
Copying of the Sutra of Buddhism
in gold ink on dark blue paper
sutra of Buddhism, imitating the works of great Shodo Artists of China (which is called Rinsho), or creating original styles inspired by the great works of the past.

Kana (Japanese Characters)
Kana is similar to the alphabet, and they are phonetic letters. This was created in Japan around the 8th century after Kanji was adopted. The origin of Kana letters is cursive writing of Kanji, but you can hardly tell which Kanji letter was used for each Kana letter. Compared to Kanji, Kana is soft and feminine, and was mainly used by women or to write poems in the Heian era . Today, Kana (usually called Hiragana in modern Japanese) is widely used in the Japanese language, and is what children learn to read and write first.

The main theme of Kana Shodo Art is Rinsho of the poem books of the Heian era such as the "Kokin Waka Shu". This poem book is acutally a collection of more than 1100 pieces of Waka (poetry with a fixed form) selected by Kino Tsurayuki and others in the early 10th century.

Modern (Mixture of Kanji and Kana)
Today, we use both Kanji and Hiragana to express Japanese. Therefore, In Modern Shodo, modern Japanese phrases are often used as themes, and new ways of expression could be seen more than traditional ways of writing.

Themes of Modern Shodo could be phrases from a book, sayings by famous people, or simply words or phrases that you like.

http://www.shodoartclub.com/What is Shodo.html

Κυριακή 10 Ιανουαρίου 2010

Ανανεωμένος Θερμιδομετρητής (Μέτρηση Θερμίδων) - (Φ - Ψ)

Περιγραφή Βάρος Ενέργεια Πρωτεΐνες Υδατάνθρακες Λίπος Χοληστερίνη
ΦΡΟΥΤΑ ΚΑΙ ΦΡΟΥΤΟΧΥΜΟΙ





Αβοκάντο 173 306 4 12 30 0
Ακτινίδιο 76 46 1 11 1 0
Ανανάς 155 76 1 19 1 0
Ανανάς κονσέρβας 168 130 2 34 1 0
Ανανάς χυμός κουτιού 250 150 1 39 1 0
Ανανάς χυμός φυσικός 250 140 1 35 1 0
Αχλάδι 141 83 1 21 1 0
Αχλάδι βρασμένο χωρίς ζάχαρη 100 30 <1 8 <1 0
Αχλάδι κονσέρβας 255 188 1 49 1 0
Αχλάδι χυμός κουτιού 250 124 1 32 1 0
Βατόμουρα 123 60 1 14 1 0
Βατόμουρα βρασμένα χωρίς ζάχαρη 99 25 1 6 <1 0
Βερίκοκα ( 3 κομμάτια) 106 51 1 12 1 0
Βερίκοκα αποξηραμένα (5 κομμάτια) 35 83 1 22 1 0
Βερίκοκα βρασμένα χωρίς ζάχαρη 150 63 <1 9 <1 0
Βερίκοκα χυμός κουτιού 250 140 1 36 1 0
Βερίκοκα χυμός φυσικός 250 119 2 30 1 0
Γκουάβα 112 45 1 10 1 0
Γκουάβα κονσέρβας 100 60 <1 16 <1 0
Γκρέιπφρουτ κόκκινο (1/2 φρούτο) 123 37 1 9 1 0
Γκρέιπφρουτ λευκό (1/2 φρούτο) 123 39 1 10 1 0
Γκρέιπφρουτ χυμός κουτιού 250 94 1 22 1 0
Γκρέιπφρουτ χυμός φυσικός 250 96 1 23 1 0
Δαμάσκηνα 66 36 1 9 1 0
Δαμάσκηνα αποξηραμένα (5 κομμάτια) 84 200 2 53 1 0
Δαμάσκηνα αποξηραμένα βρασμένα χωρίς ζάχαρη 100 95 1 24 <1 0
Καραμπόλα 150 42 - - - -
Καραμπόλα αποξηραμένη 60 120 - - - -
Καρπούζι 160 51 1 11 1 0
Κεράσια (10 κομμάτια) 68 49 1 11 1 0
Κουμ κουάτ κονσέρβας 100 138 <1 35 <1 0
Κυδώνι (1/4 φρούτου) 100 25 <1 6 <1 0
Λάιμ χυμός κουτιού 250 52 1 16 1 0
Λάιμ χυμός φρέσκος 250 66 1 22 1 0
Λεμόνι 58 17 1 5 1 0
Λεμόνι χυμός κουτιού 250 51 1 16 1 0
Λεμόνι χυμός φρέσκος 250 61 1 21 1 0
Λίτσις 16 6 1 2 0 0
Λωτός 150 94 - - - -
Μάνγκο 207 134 1 35 1 0
Μάνγκο κονσέρβας 250 192 1 51 1 0
Μάνγκο χυμός κονσέρβας 250 110 1 30 0 0
Μανταρίνι 84 37 1 9 1 0
Μανταρίνι χυμός κουτιού 250 153 1 41 1 0
Μήλο 212 125 <1 32 1 0
Μήλο αποξηραμένο (10 φέτες) 64 155 1 42 1 0
Μήλο χυμός κουτιού 250 193 <1 51 <1 0
Μήλο χυμός φυσικός 250 104 <1 28 31 0
Μήλο ψημένο χωρίς ζάχαρη 100 39 <1 10 <1 0
Μούρα 145 81 1 20 1 0
Μούσμουλα 150 60 1 15 0 0
Μπανάνα 114 104 1 27 1 0
Μπανάνα αποξηραμένη 30 98 1 25 1 0
Μύρτιλλα 150 70 1 21 0 0
Νεκταρίνια 136 67 1 16 1 0
Παπάγια 304 118 2 30 1 0
Παπάγια χυμός κουτιού 250 142 <1 36 1 0
Πεπόνι 129 45 1 12 1 0
Πλαντάνα (είδος μπανάνας) 148 181 2 47 <1 0
Πορτοκάλι 131 62 1 15 1 0
Πορτοκάλι χυμός κουτιού 250 105 1 24 1 0
Πορτοκάλι χυμός φρέσκος 250 112 2 26 1 0
Ροδάκινο 87 37 1 10 1 0
Ροδάκινο χυμός κουτιού 250 189 1 51 1 0
Ροδάκινο χυμός φρέσκος 250 109 2 29 1 0
Ρόδι 154 105 1 27 1 0
Ρόδι χυμός 250 110 <1 29 <1 0
Σταφίδες 145 435 5 115 1 0
Σταφύλια ποικιλία με κουκούτσια 57 40 <1 10 1 0
Σταφύλια ποικιλία χωρίς κουκούτσια 50 35 <1 9 1 0
Σταφύλια χυμός κουτιού 250 154 1 38 1 0
Σύκα 65 47 1 12 1 0
Σύκα αποξηραμένα 187 477 6 122 2 0
Φράουλες 150 45 1 10 1 0
Φρούτα του πάθους 35 18 <1 4 0 0
Χουρμάδες 83 228 2 61 1 0
Χυμός κοκτέιλ φρούτων χωρίς ζάχαρη 250 114 1 29 1 0
Χυμός μήλο και αχλάδι 250 140 0 34 0 0
Χυμός μήλο και κεράσι 250 120 0 30 0 0
Χυμός μήλο και σταφύλι 250 120 0 31 0 0
Χυμός μήλο και φράουλα 250 120 0 30 0 0
Χυμός μήλο, ροδάκινο και δαμάσκηνο 250 130 0 34 0 0
Χυμός μήλο, φράουλα και μπανάνα 250 130 0 33 0 0
Χυμός μήλο,ροδάκινο και ακτινίδιο 250 140 0 34 0 0
Χυμός πορτοκάλι και γκρέιπφρουτ 250 106 1 25 1 0







Περιγραφή Βάρος Ενέργεια Πρωτεΐνες Υδατάνθρακες Λίπος Χοληστερίνη
ΨAPIA KAI ΘAΛAΣΣINA





Αθερίνα 130 110 - - - -
Αντσούγιες αποξηραμένες (παστές) 20 42 6 2 - -
Ασπρόψαρο 85 114 16 0 5 51
Αστακός 145 142 30 2 1 104
Γαλέος 85 111 18 4 43 -
Γαρίδες 100 106 20 0 2 152
Γαρίδες κονσέρβας 100 94 21 0 1 152
Γατόψαρο 113 325 21 14 20 92
Γλώσσα ψάρι 113 133 27 0 2 77
Καβούρι 113 112 23 0 1 100
Καβούρι κονσέρβας 100 81 18 0 1 100
Καλαμαράκια 113 75 15 - 2 0
Κυπρίνος 85 108 15 5 56 -
Μαρίδα 85 83 15 2 60 -
Μπακαλιάρος 113 116 25 0 1 61
Μπακαλιάρος καπνιστός 113 79 18 0 1 50
Μπαρμπούνι 113 101 19 0 3 0
Μύδια 180 133 23 5 2 60
Ξιφίας 113 137 22 0 5 44
Πάστα αντσούγιας (1 κουταλάκι) 5 15 - - - -
Πέρκα 113 166 27 0 5 98
Πέστροφα 113 170 26 0 7 78
Ρέγκα 85 223 12 8 15 11
Σαρδέλες 113 235 28 0 13 160
Σκουμπρί 85 174 16 11 60 -
Σολομός καπνιστός 113 132 21 0 5 26
Στρείδια 113 85 9 5 3 66
Ταραμάς 15 20 3 0 1 50
Τόνος 113 163 26 0 6 43
Τόνος κονσέρβα νερού 85 98 22 0 1 25
Χαβιάρι 16 40 4 1 3 94
Χέλι 113 227 24 0 15 254
Χταπόδι 113 93 17 3 1 -
Χτένια 85 75 14 2 <1 28







Περιγραφή Βάρος Ενέργεια Πρωτεΐνες Υδατάνθρακες Λίπος Χοληστερίνη
ΨΩMI





Σκορδόψωμο 30 170 2 16 10 0
Ψωμάκι για σάντουιτς 54 212 3 38 6 0
Ψωμάκι για χάμπουργκερ 45 129 4 23 2 0
Ψωμάκι πολύσπορο 175 600 23 125 6 0
Ψωμάκι πολυτελείας 33 110 3 17 3 0
Ψωμάκι σίκαλης 98 328 12 69 3 0
Ψωμί από ρυζάλευρο 23 56 2 12 0 0
Ψωμί βρώμης με πίτυρο 30 80 3 15 1 0
Ψωμί για τοστ 30 114 3 20 2 0
Ψωμί δεκάσπορο 30 70 5 13 <1 0
Ψωμί εννιάσπορο 30 90 4 16 1 0
Ψωμί εφτάσπορο 30 100 3 18 2 0
Ψωμί καλαμποκιού 45 93 3 13 3 30
Ψωμί λευκό σταρένιο 23 62 2 11 0 0
Ψωμί μπαγκέτα 20 58 2 11 <1 0
Ψωμί ολικής άλεσης σταρένιο 33 56 3 11 0 0
Ψωμί παμπερνίκελ – με ολόκληρους σπόρους 79 3 17 0 0
Ψωμί πεντάσπορο 30 90 5 19 <1 0
Ψωμί σε ψίχα 100 395 12 72 5 0
Ψωμί σίκαλης 33 109 4 23 1 0
Ψωμί τύπου αραβικής πίτας 42 140 6 24 2 0
Ψωμί φρυγανισμένο 10 30 1 7 <1 0