Como bem falado, estamos o grupo que participo de RPG estamos jogando o sistema Pathfinder da Paizo (ate adquirimos uma copia deste), então nosso querido mestre Alexandre Santana – Vulgo Dragão de Latão – vai sempre estar postando alguma coisa referente as aventuras que nossos personagem estão passando.

Vamos aos textos…

“(Página extraída do diário de Lena Carvin, Investigadora do Concílio de Altair)

Até aquele momento, parecia que o plano funcionaria a contento. Klaus  – ou, ao menos, era assim que ele se denominava; eu duvido que seja seu nome verdadeiro – estava sentado sozinho à última mesa à direita, no tal “setor reservado”, à minha espera, exatamente como combinado. Eu não dou a mínima para exibições baratas de conhecimento arcano, mas estando ali percebi o porquê de um informante real escolher um lugar tão… exótico para um encontro: qualquer curioso pouco habituado a estímulos mentais fortes seria capaz de se perder no espaço de menos de seis passos que separava aquele setor do resto da taverna, tamanho era o fluxo de energia mística distorcida, de forma que nosso assunto teria a dose certa de sigilo e discrição. Era como estar numa cela particular de proteção mágica, cercada por dezenas de pessoas, sem que ninguém nos notasse.

A fumaça do seu cachimbo era densa, adocicada. Tudo ali tinha um cheiro forte – suor, vinho tinto e couro velho, mas agora que estávamos frente a frente parecia que a fumaça que ele expirava engolfava tudo, até mesmo o ruído das risadas embriagadas ao nosso redor ou mesmo o som da banda que se apresentava no palco, poucos metros adiante.

- Está adiantada – ele disse. Sua voz impunha um tom firme e até mesmo autoritário, mas eu percebi o medo cuidadosamente oculto ali. Sentei-me à mesa, sem esperar que ele me cumprimentasse formalmente, e fingi não me importar com a fumaça.

- Nosso prazo está se esgotando – eu disse. – O que tem para mim?

- Direta ao ponto – disse ele, coroando com um sorriso torto a patética tentativa de parecer intimidador. – Imaginei que você viesse tratar de outro assunto – prosseguiu ele. – Tudo o que eu tinha para relatar sobre o desaparecimento da princesa já foi informado aos seus superiores.

Recostei-me à cadeira, encarando-o diretamente. – Bem; – eu disse calmamente, ignorando seu sarcasmo e respondendo no tom mais polido que era capaz de simular: – Parece que meus superiores tem motivos para acreditar que não é bem assim. Eles me mandaram procurar você porque acreditam que você está ocultando informações.

Senti o homem perder toda a compostura, enquanto seu feitiço de mascaramento pareceu oscilar sobre a expressão furiosa. Já era suficiente para um mercenário vindo de um reino machista saber que sua palavra tinha sido questionada por seu contratador, pensei. E não deveria ser nada confortável somar a isso o fato de que este mesmo contratador, aparentemente, resolvera enviar uma mulher para interrogá-lo. As coisas poderiam ficar perigosas, mas eu não estava ali para uma conversa amigável. Era preciso deixar bem claro para Klaus quem é que mandava dali por diante.

- Pois se o Concílio questiona minha capacidade, garota, então que não me contratassem, em primeiro lugar – ele disse, rilhando os dentes. – Estive trabalhando sozinho muito tempo antes de você resolver brincar de detetive com o consentimento deles. Consentimento, aliás, que não me diz respeito. Não irei me reportar a você. Não tenho nada para lhe dizer.

- Se você tivesse alguma coisa a me dizer, eu continuaria da mesma opinião, – retruquei, muito calma. – Eu diria, caro senhor Klaus, que pelo que pude analisar em seus relatórios anteriores, os quais tive acesso, o Concílio tem bons motivos para duvidar da qualidade de seus serviços. É de fato bastante provável que você esteja mentindo. Acho que a mentira é um de seus maiores talentos, e ao mesmo tempo, sua mercadoria mais lucrativa.

Klaus engasgou-se com a fumaça de seu próprio cachimbo, o qual atirou longe. Senti o sangue subir-lhe a cabeça enquanto ele tossia, furioso e humilhado. Ergueu-se da mesa e, ao perceber que chamara a atenção de um casal de feiticeiros na mesa ao lado, limitou-se a me encarar com fúria e baixar o tom de voz. – Tem sorte que eu não lhe ensine uma lição aqui mesmo, vadia atrevida! – ameaçou ele. – Perdeu seu tempo vindo até aqui, se acha que irei ajudá-la depois de ofender minha honra!

- Irá, se quiser receber a última parte de seu pagamento – respondi suavemente, para espanto de Klaus – Sim, é verdade. O Concílio só o pagará após um relatório meu. Isso se não decidirem pelo ‘destrato’ de seu contrato, caso você não resolva colaborar. Nesse caso, você estará por conta própria. O que não será nada bom para sua segurança, uma vez que os asseclas do Concílio tem plena ciência de que o pouco que você afirma saber já é o suficiente para que você seja considerado uma ameaça.

O homem empalideceu. Ele poderia se fingir de durão o quanto quisesse, mas já havia percebido que eu sabia, tanto quanto ele, que uma vez a serviço do Concílio de Altair, só há duas maneiras de sair – e uma delas é a sepultura.

- Está bem, – ele finalmente assentiu. Não era um homem estúpido, isso eu tenho que reconhecer. – Apresentarei a você as provas que encontrei, juntamente com os depoimentos transcritos e mapas com resultados das buscas. Mas já a alerto que, mesmo sem provas conclusivas, é possível adiantar que as notícias para o rei não são boas.

- A pequena Julia está morta – eu o interrompi – disso já sabemos. O mais importante agora é descobrir os motivos e descartar as possibilidades de um conflito entre os reinos.

- Essas não são as únicas notícias ruins… – ele tateou o chão à procura do cachimbo, e pude perceber, por seu tom satisfeito, que ele percebeu minha curiosidade.

- O que quer dizer? – perguntei, não resistindo ao seu jogo. – O que mais você sabe a respeito da morte da princesa que não incluiu nos relatórios?

- Que ela não foi a única! – disse ele, me encarando profundamente.

(…)

Despedi-me de meu questionável aliado, enquanto me dirigia à pequena taverna onde ele se hospedara, para tomar posse dos resultados de suas investigações. Não era seguro que deixássemos a taverna juntos – foi sua sugestão, mas eu concordei que isso levantaria suspeitas desnecessárias, mesmo entre tantas figuras estranhas que pareciam sentir-se em casa naquele lugar. Quando olhei para trás, já não consegui identificá-lo em meio à massa perturbadora de magos insanos e hedonistas, mas poderia jurar para mim mesma que ele estava rindo.

Não poderia confiar em Klaus. Perturbava-me o fato de que o espião provavelmente estava dizendo a verdade, ao revelar que a princesa Julia poderia ser apenas uma entre as vítimas de um assassino cujas motivações  – psicóticas? políticas – nós ainda ignorávamos.

Mas me incomodava ainda mais a sensação de que ele estava guardando segredos ainda mais importantes – talvez, para um segundo cliente.”

Texto por: Alexandre Santana

Prelúdio: “Bálsamo” – Parte 1 •

Sem aviso prévio, Xavier desperta o grupo às 5 da manhã, de forma barulhenta e com seu “humor” peculiar habitual. O “agente” dos saltimbancos se nega a maiores explicações; apenas pede a eles que se vistam rapidamente e se preparem para uma “missão” – a primeira a envolver todos eles juntos, em quatro anos. Após o café da manhã, o grupo deixa o prédio do xerifado rumo ao distrito de Mar Dulce – o mais rico da cidade – não sem antes enfrentar os olhares curiosos de cidadãos de Lagoa Verde, cujas opiniões e reações em relação ao grupo variam da simpatia à hostilidade completa: embora os personagens tenham trabalhado em prol da cidade por quatro anos, muitos ali ainda não esqueceram o incêndio do circo.

• Os personagens chegam ao elegante sobrado de Catarina Riccela, sacerdotisa de Sarenrae e uma das curandeiras mais respeitadas de Lagoa Verde. O grupo é conduzido por Xavier até uma saleta nos fundos do casarão, onde a clériga os recebe e apresenta um quadro curioso: repousando sobre macas no centro da sala, dois humanos jovens e um halfling agonizam, à beira da morte, cobertos de ferimentos e queimaduras grotescos. Catarina explica que são bandidos – ladrões de estrada malsucedidos, atacados pela caravana de alquimistas que haviam tentado assaltar. Por ordem da juíza de Ágora, os bandidos foram proibidos de receber tratamento milagroso ou arcano: eles devem ser tratados apenas com curativos e medicamentos tradicionais, como castigo pela tentativa de assalto, e devem ser encaminhados à justiça assim que puderem caminhar com as próprias pernas. • Catarina abre o jogo com os personagens: sem tratamento especial, aqueles três jovens vão morrer – e isso é algo que a clériga, por seus votos, não pode permitir, sejam eles bandidos ou não. Catarina ousou desafiar a juíza e “sequestrou” os assaltantes da enfermaria comum, trazendo-os para sua casa para curar seus ferimentos com ajuda da Deusa, sem intromissão da justiça. Ela precisa da ajuda dos personagens para produzir um bálsamo especial – que promove cura acelerada sem deixar vestígios “mágicos” nos ferimentos. Para isso, ela precisa de um componente inusitado: fragmentos de águas-vivas.

• O grupo decide ajudar a sacerdotisa. Ela promete ajudá-los como agradecimento à presteza (e discrição…) do grupo. Gabriela Dantes, jovem assistente de Catarina, lembra que existem alguns “complicadores” na missão: as águas-vivas tem grande poder regenerativo e neutralizador, mas se deterioram rapidamente: é melhor apanhar o máximo delas no menor espaço de tempo possível e trazê-las de volta em poucas horas, do contrário ou o bálsamo perderá o efeito… ou os pacientes irão morrer antes de receber tratamento. Catarina recomenda que as cacem na caverna semi-submersa próxima à Ilha do Farol, onde há uma grande quantidade delas em pequenas piscinas naturais que se formam na maré baixa. Xavier protesta: a caverna é perigosa, pouco explorada, e se eles não voltarem a tempo a maré voltará a subir… e os deixará presos lá dentro até que se afoguem!

• Apesar dos riscos – não só de morrer na caverna, mas de serem pegos pela milícia da cidade cumprindo uma missão “extra-oficial”, o que certamente agravará suas penas – o grupo aceita o desafio. Gabriela pede ainda uma “missão extra”: que capturem lagostas para um jantar especial que oferecerá a eles – caso retornem… (continua)

Mestre e texto: Alexandre Santana

อาร์ตก็เป็นวัยรุ่นอีกคนนึงที่โตมากับไอ้มดแดง (รู้จักผ่านๆก็ Black RX นี่แหละ  แต่ว่าได้มาดูจริงๆตอนแรกก็เป็นไรเดอร์ ZO ที่เป็นหนังโรง) โดยซีรีย์แรกที่ได้ดูจบจบ (ไม่ยอมพลาด) เป็นของไอ้มดแดงยุค 2.0 (ยุคปี 2000) ก็คือ Masked Rider Agito จากนั้นก็เป็นริวคิ (เสียดายที่พลาดตอนจบไป) ส่วน FaiZ (555) ไม่ค่อยได้ดูเท่าไร  ส่วน Blade ได้ดูตอนท้ายๆล่ะ  ประมาณตอนที่ 40 กว่าๆ (ตอนนี้เริ่มมาดูตั้งแต่แรกใหม่อีกครั้ง) ส่วน ฮิบิกิ นี่ไม่ชอบอ่ะ  รู้สึกว่ามันจะผิดกะไรเดอร์ที่คาดหวังไว้  ส่วน Den-O นี่ออกจะเพี้ยนๆไป   Kiva พรัเอกมันจะขี้อายเกินเหตุไปหรือป่าวนี่ ส่วนไรเดอร์คนล่าสุด W (ดับเบิ้ล)  มีฟอร์มยืดแขนได้ด้วย (นึกว่าแฟนตาสติก 4  ซะอีก – -“)  แล้วดับเบิ้ลไรเดอร์คิกที่แยกออกมา (แบบผ่าครึ่ง ) เป็นอะไรที่สุดโต่งเลย  สยองวุ๊ย  

สำหรับรายละเอียดตามอ่านที่ Wikipedia ไรเดอร์คาบูโตะ นะครับ

My Comment :

ภาคนี้พระเอกเก่ง(เวอร์)มาก ทั้งทำอาหารเก่ง  ต่อสู้เก่ง  มั่นใจในตัวเองสูงมากๆๆๆๆๆๆๆๆ (มากซะจนน่าหมั่นไส้เลยล่ะ)  รวย (น่าจะนะ เห็นวันๆไม่ทำงานอะไรเลย เอาแต่ร่อนไปร่อนมา น่าอิจฉาชะมัด อิอิ)  แถมยังมีคำพูดติดปากว่า  ก้าวเดินสู่วิถีแห่งสวรรค์ (ประมาณนี้มั้ง)   นอกจากนั้นเวลาแปลงร่างยังมีโหมดใส่เกราะ – ถอดเกราะ  และความเร็วแสง (ไรเดอร์คนอื่นไม่มีเลยนะนี่  ถ้าตีกันคงได้เปรียบสุดๆ) นอกจากนี้ตอนท้ายๆยังมีตัวปลอดออกมาอีก (ด้านมืดอ่ะดิ เหมือนในริวคิเลย) ส่วนเหตุการณ์จะเป็นไงต่อไป  …….ขอดูให้จบก่อนละกันครับ (ตอนนี้เพิ่งได้ตอนที่ 7 เอง)

Bom, estou colocando agora minha coleção de MP3 de todos os Kamen Rider no Mediafire, servidor muito rápido que aceita resumir os downloads, fazer filas e baixar mais de um por vez. A versão em músicas avulsas podem ser baixadas no meu 4Shared.

Baixar rápido com Firefox 3.5 e o complemento DownThemAll.

Veja a lista de MP3 Kamen Rider (.DOC)

KR 1	KR Agito	KR Amazon	KR Black - 1 / 2
Black RX – 1 / 2	KR Blade	KR Den-O – 1 / 2	KR Faiz
KR Hibiki	KR J	KR Kabuto	KR Kiva
KR Kuuga	KR Ryuki	KR Shin	SkyRider
KR Stronger	KR Super-1	KR First	KR V3
KR X	KR ZO	KR ZX

Kamen Rider Black – MP3 – www.kotarosan.wordpress.com.part1.rar Uploaded 09/10/2009 | 95.78 MB | 1 Downloads | Edit File Info |  Private – (make public) Public – (make private) Password Protected – (remove password) Kamen Rider Black – MP3 – www.kotarosan.wordpress.com.part1.rar File Name: Description: You have   characters left. Tags: (separate tags with spaces) You have   characters left. Password protect this file Password: (Enter a password to protect this file) You have   characters left. or  Cancel

Kamen Rider Black – MP3 – www.kotarosan.wordpress.com.part2.rar Uploaded 09/10/2009 | 29.91 MB | 1 Downloads | Edit File Info |  Private – (make public) Public – (make private) Password Protected – (remove password) Kamen Rider Black – MP3 – www.kotarosan.wordpress.com.part2.rar File Name: Description: You have   characters left. Tags: (separate tags with spaces) You have   characters left. Password protect this file Password: (Enter a password to protect this file) You have   characters left. or  Cancel

Kamen Rider Black RX – MP3 – www.kotarosan.wordpress.com.part1.rar Uploaded 09/10/2009 | 95.78 MB | 1 Downloads | Edit File Info |  Private – (make public) Public – (make private) Password Protected – (remove password) Kamen Rider Black RX – MP3 – www.kotarosan.wordpress.com.part1.rar File Name: Description: You have   characters left. Tags: (separate tags with spaces) You have   characters left. Password protect this file Password: (Enter a password to protect this file) You have   characters left. or  Cancel

Kamen Rider Black RX – MP3 – www.kotarosan.wordpress.com.part2.rar

Portrait of Hosokawa Sumimoto (1489–1520), by Kanō Motonobu (1476–1559); inscription by Keijo Shūrin (1440–1518), Japan. Muromachi period (1392–1573), 1507. Hanging scroll; ink and colors on silk. Eisei Bunko Museum, 466. © Eisei Bunko, Japan.

For more than 800 years the Samurai helped lay the foundation of Japanese culture and that legacy is explored in “Lords of the Samurai,” the Asian Art Museum’s stunning summer exhibition of over 160 rare objects from the collection of the Hosokawa family, one of Japan’s most elite warrior clans.  The exhibition, in its final three weeks (ends September 20) includes priceless armor, several breathtaking swords and other weaponry, paintings, lacquer ware, ceramics, costumes and other rare objects from Tokyo’s renowned Eisei-Bunko Museum and in the Hosokawa family’s former home, Kumamoto Castle on Kyushu island, Japan.  The objects reveal that the samurai and their daimyo (hereditary feudal) lords of pre-modern Japan were much more than just skillful military strategists and fighters; they were also artists and patrons of art and culture in its highest form.  The show is organized by the Asian Art Museum and the Eisei-Bunko Hosokawa collection, Tokyo.  This is the first time the Hosokawa’s precious collection of weaponry and artifacts have been shown in the United States and the Asian Art Museum is the sole venue for this exceptional show.  Due to the light sensitive nature of roughly 50 of the initial artworks on display, the show is now on its second rotation and new artworks have replaced those that were rotated out.   

Samurai—from loyal followers to fierce and principled elite warriors

The term “samurai” comes from the Japanese word saburau, meaning “to serve,” and was first used in A.D. 702 to describe mid-to-low-ranking court administrators and, later, armed imperial guards. Their title, mostly metaphorical, referred to their loyalty to the emperor.  By the 10th century, when provincial governors began offering heavy rewards for military service, the samurai as we know them came into being.  By the end of the 12th century, samurai became synonymous with the term “bushi” and were closely associated with the middle and upper echelons of the warrior class.  The term “Samurai” held strong aristocratic overtones and brought great prestige to the samurai’s lineage—so much so that warriors would recite their ancestry on the battlefield.  The distinguished lineage of the Hosokawa clan, which can be traced back seven centuries, trumps that of the imperial family whose history extends back only a few hundred years.

Hosokawa Clan, weilding power for centuries

The Hosokawa clan descended from Emperor Seiwa (850-88) and a branch of the Minamoto clan, via the Ashikaga clan.  It wielded significant power over the course of the Muromachi (1336-1467), Sengoku (1467-1600), and Edo periods, and over the centuries moved from Shikoku, to Kinai, and then to Kyūshū.  The first generation of lord of the Hosokawa clan, Hosokawa Yūsai (1534-1610), came of age in the “envisioned age” of Seven Samurai and fought valiantly in eight major battles.  The samurai’s role in life was to follow a code of conduct called the Bushidō or “Way of the Warrior” and to follow the Way of Poetry.  Poetry was studied and used among the samurai as vehicle of exchange and cohesion.  Yūsai was the third person in history to have been taught the entire 15^th century Kokin denju tradition, an orally transmitted commentary on the first Imperial anthology of Japanese waka poetry (kokin wakashū).  As the sole possessor of this vital key to waka tradition, Yūsai was entwined with Japanese culture.   Yūsai is renowned because the emperor intervened in one of Yūsai’s long battles to save him proving that Kokin denju was more important than military victory.   The literary ethos of this great warrior-gentleman, who also mastered cultural, artistic and spiritual pursuits, has carried on through the ages.

The samurai maintained their elite status into the mid-1800s when Western influences started to take hold.  The question of how and when Japan’s modernization occurred is still debated but after Japan opened its port to foreigners in 1854, it went on to modernize its military forces and did away with many of the samurai’s special rights.  Following the abolition of the feudal class in 1871, the Hosokawa clan and its branches were made part of the Kazoku, the Meiji era’s new nobility.  They were given the hereditary title of Marquis (kōshaku); the title became obsolete in 1947.  The present head of the main family line, Morihiro Hosokawa, former Prime Minister of Japan, is a descendant of the Hosokawa of Kumamoto.

Ōyoroitype armor (replica), white cord lacing with diagonal corner accents (tsumadori), replica of a suit worn by Hosokawa Yoriari (1332–1391), Japan. Edo period, 1829 (after 14th century original). Iron, gilt bronze, metal, tooled leather, lacquer, braided silk, fur. Eisei Bunko Museum, 4082. © Eisei Bunko, Japan.

Armor—object and symbol

Lawrence Ellison, Oracle founder/mogul, who in the 1980’s liked to call himself ”the Silicon Samurai”–has been a passionate collector of Samurai antiquities, including an extensive armor collection.  He frequently remarked that he treasured Samurai armor for its beauty and strength and because “it encapsulates the fundamentals of Japanese character.  As comprehensively as any people on earth, the Japanese know that while we are predators, we are also constantly trying to capture our humanity through a code of ethics and a sense of honor. (Forbes 156, n.7 (September 25, 1995). 

The show opens with a 19^th century reproduction of the Ōyoroi armor worn by Hosokawa Yoriari, founder of the Hosokawa clan, in the battle of Kyoto in 1358.  This reproduction is basically a synthesis, containing parts that are historically accurate as well as parts that have been reinvented.   The exhibition also includes five other full sets of armor of different styles that span several eras, up until the end of the shogunate in the mid-1800’s.  Painstakingly handcrafted by leading artisans of the day, it is hard to imagine these ever being bloodied in combat.  In fact, most of the suits on display in the exhibition have not seen actual battle, nor have most of the battle trappings, but some objects, even ornately lacquered stirrups, do show moderate signs of wear.

Ōyoroi armor (big armor) is the most formal armor and was used from the late Heian period (794-1185) to the Kamakura period (1185-1333) in one-on-one mounted combat.  The suit weighed about 60 pounds and consisted of a helmet (kabuto), cuirass (dō), tassets (kusuzuri which are overlaced with lames) to protect the hips and shoulder guards (sode).  It had great aesthetic value and is called “shikisei no yoroi,” the right ceremonial armor.  Because a warrior’s armor became his funeral attire if he was defeated, a great deal of attention was paid to decorative details and ornamentation and it was very costly and time-consuming to produce.  An early 10th century legal compendium discussed in Karl Friday’s Samurai, Warfare and the State in Early Medieval Japan indicates that the production of Ōyoroi required between 192 and 265 days, depending on the season and length of day.  Modern-day craftsmen normally require ten months to two years of full-time labor to construct Ōyoroi replicas.  It has been documented that this reproduction, begun in 1824, took five years to complete.  This stunning suit of armor, with its combination of white cord lacing with diagonal accents of multicolored lacing in the shoulder guards and tassets, was popular in Yoriari’s time for its exquisite refinement.

Swords—deadly and stunning

Ceremonial long sword (tachi) blade, signed “Moriie zō” (Made By Moriie), Japan. Kamakura period (1185–1333), 13th century. Forged and tempered steel. Eisei Bunko Museum, 1784. © Eisei Bunko, Japan.

It has been said that the samurai’s sword was his soul.  The legendary katana, or curved sword, invented a millennium ago, remains a marvel of aesthetic beauty and skillful engineering.  The katana embodies the perfect melding of form and function.  While most bladed weapons were designed to either pierce or slash, the katana’s two different types of steel gave it optimum qualities for both, making it a highly versatile weapon in battle.  Human bone-cutting qualities were tested and refined during actual executions.  Delivered with the proper single blow by a trained warrior, the very finest swords were able to slice but through as many as five human bodies at once. (“Secrets of the Samurai Sword,”  NOVA, an exceptional tv program airing in Sept., goes into the history of samurai swordmaking and visits contemporary Japanese metalworkers as they craft a sword from scratch using ancient techniques. )   The exhibition includes several highest quality examples of ceremonial long blade, long blade and short blade swords that were either used directly or collected by the Hosokawa clan as evidence of their family status.   

A supreme 13^th century ceremonial long blade, crafted by Moriie, has been designated an Important Cultural Property.  Moriie (active from 1249 to 1256) was from Hatada, which was near Osafune, the greatest sword-making center in the Bizen region.  This area is currently known as the southeast Okayama prefecture.  In addition to the superb workmanship on its surface steel and edge, this tachi sword (designed for cavalry combat) exhibits Moriie’s hallmark temper lines– irregular clove-shape (chōji midare) lines alternating with tadpole (kawazugo) lines.  The sword would have been sheathed with the blade edge pointing downward and slung from a waist belt.

Equally valuable were the sword’s guards and mountings which were often embellished lavishly, elevating them to works of art.  The sword guard balanced the blade and hilt and protected one’s hands from slipping onto the blade while using it.  The imperial sword guard mounting pictured here was made in late Edo period. 

Mounting for a ceremonial long sword (tachi) with nine planet family crests and gold fittings, Japan. Edo period (1615–1868), 19th century. Lacquered wood with sprinkled gold (makie) decoration, gilt bronze, gold, ray skin, leather. Eisei Bunko Museum, 29241. © Eisei Bunko, Japan.

Its scabbard is decorated in the makie lacquer technique, with nine-planet Hosokawa family crests in gold on a sprinkled pear skin (nashiji) background; variants of the family’s cherry blossom crest adorn the hilt.  Other works include exquisite fans, costumes, helmets, saddles and stirrups.

The Osher Gallery contains the workmanship of Miyamoto Musashi (1584-1645) the greatest Samurai swordsman of his day, perhaps of all time and a renowned painter.  Musashi was sword instructor to the Hosokawa family and founded the Niten Ichi-ryū School of swordsmanship “the school of the strategy of two heavens as one” that uses the long and short swords together.  In 1645, he wrote his great book Gorin no shô (A Book of Five Rings), a martial arts strategy manual, that is in the exhibition as a set of five scrolls.  The original of the book was lost but his trusted disciple made a copy and it has remained with the Hosokawa family.   During the 1980’s, Musashi’s popularity stateside soared as American businessmen, eager to penetrate the Japanese mind, consumed his Book of Five Rings.   Can adroitness with a sword carry over to brushwork?  Not to be missed are Musashi’s stunning folding set of two six-paneled folding screens “Wild Geese and Reeds” designated “Important Cultural Property.”  In the left screen, gracefully-rendered light-featured geese rest beneath a tree and in the right screen, dark-featured geese rest and feed.  Throughout the work, he achieves economy in brushwork while conveying energy and movement.  

Dog-Chasing: a sport for mounted Samurai 

Of the many antiquities in the Hosokawa family collection, dog lovers, archers and equestrians will be fascinated by a late 17th century Edo period six-panel folding screen depicting inuoumono (dog-chasing)– a samurai archery drill that originated in the Kamakura period during the reign of Emperor Gohorikawa (r. 1222-32) and evolved into a very popular spectator sport.  The dogs were not harmed: the goal was to shoot the running dogs with heavily padded arrows, a task that challenged the samurais’ skill as horsemen and archers.  The event typically took place in the center of an open riding ground where two concentric rings were formed with ropes. The warriors were divided into teams, and the teams waited outside the larger circle until the dogs were released from the smaller circle by a dog-handler.  Each archer the same number of padded arrows; skill and accuracy were judged according to the length of the chase and the location of a hit.  Closely codified rules governed the size of the field and the number of dogs and archers participating. 

Left 6 panels “Inuoumono” (Dog Chasing Event), Pair of six-panel folding screens; ink, colors, and gold foil on paper, H 139.9 cm x W 351.8 cm (each), Japan; Edo period (1615-1868), Eisei-Bunko Museum, 4005.

Only when a dog passed over a rope was it a target and then, the only shots that counted were torso shots; shots to the head or limbs drew penalty points.  This screen is typical of early 17^th century folding screen compositions of the sport which emphasized mounted archers around the concentric ropes, watching or chasing a dog.  The brilliant colors and detailed action figures are set against a gold leaf background.   Today, only about a dozen of these folding-screen compositions are known to exist and most date to the 17th century.  Interestingly, as genre painting took hold, artists’ compositions of inuoumono changed somewhat, with increased emphasis on the spectators in attendance–their clothing, gestures, so forth.

 An Adopted Son becomes a Samurai

Other scrolls in the show range from albums of flower paintings to portraits of Hosokawa daimyos.  An exquisite hanging silk scroll portrait of Hosokawa Sumimoto (1489-1520) by Kano Motonobo has been designated “Important Cultural Property.”  Hosokawa Sumimoto, distant ancestor of the Hosokawa lineage was a warrior who experienced continual conflict and was engaged in war most of his life.   He was adopted into the line of Hosokawa shogunal deputies and into a family that already had an adopted son from the powerful Kujō family.  The Warring States period (late 15^th and 16^th centuries) was an extremely brutal time when warriors were consumed by ambition, suspicion and jealously and many members of distinguished warrior families turned against their own family members in a grab for power.  The two adoptees quarreled over succession to the Hosekawa line and Sumimoto’s brother was killed by one of Sumimoto’s supporters.  An attempt was made on Sumimoto’s life but he fled Kyoto to the Ōmi province and remained there until his position as head of one branch of the Hosokawa clan was secured.  His victory was short and he was unseated in 1508 and failed in subsequent attempts to regain his power.  He died disappointed and alone.   The portrait depicts him at age 19 mounted on his grand horse, wearing haramaki armor, a helmet with a horn like crest, his sword mounting is slung at his left side.  He carries his halberd blade up, a whip in his right hand and his reins in his left hand.  A short sword is tucked in his belt.  An inscription in fine calligraphy by Keijo Shūrin of the Nanzenji temple in Kyoto dates the portrait to 1507.  A portion of the inscription reads—“Hosokawa Sumimoto, a great archer and horseman, is far above other humans.  He is also versed in waka and appreciates the moon and the wind….Outside the citadel he takes bows and arrows; in meditation and reading of sacred books he protects Buddhism…”

Teabowl entitled “Otogaze,” black Raku ware, Raku Chōjirō (d. 1589), Momoyama period (1573-1615), 16th century, glazed earthenware, H. 8.2 cm x Diam. 10.8 cm (mouth), Diam. 5.0 cm (foot), Eisei-Bunko Museum, 1297.

Samurai Tea Practitioners—Ritual with Awesome Cups

It might be easy to dismiss this humble raku tea bowl, but this 16^th century object, called “Otogaze,” bears the designation “Important Cultural Object” and is attributed to Japan’s most famous potter, Raku Chōjirō, and as such bears rock-star status.  The bowl takes its poetic name from the jovial female deity Otafuku, also called Otogaze, and it’s thought that the bowl’s volumptuous shape inspired the name. In early raku wares like this, the raw clay was coated with a lead glaze and then fired in a small-scale kiln.

The Hosokawa family’s meticulous  records of art objects and tea utensils mention this bowl by name and indicate that it was beloved by Hosokawa Sansai (1563-1646).   Sansai was one of the family’s most important tea practitioners and one of seven disciples of Sen Rikyu (1522-1591), the tea master who perfected the Way of  Tea (chanoyu).  Rikyu composed a poem which is still quoted “Though many people drink tea, if you do not know the Way of Tea, tea will drink you up.”  Without any spiritual training, you think you are drinking tea but actually tea drinks you up.  The age-old tradition of chanoyu has been maintained throughout many generations of the Hosokawa family and is observed today.  Former prime minister Hosokawa Morihiro (born 1938), the eighteenth generation head of the Hosokawa family, is a celebrated tea practitioner and an acclaimed ceramist and calligrapher.  A number of his tea bowls and implements for the Japanese tea ceremony, no doubt inspired by ancient ones are included in the show. 

The show concludes with a series of works relating to Zen Buddhism whose emphasis on obtaining inner autonomy and self-awareness by learning to control the body through the mind and the mind through the body appealed to the highly-disciplined samurai warriors.

Ticket prices for the exhibition show include a $5 surcharge over regular museum admission.  A fully illustrated catalog of the exhibition published by the Asian Art Museum is available at the museum store, $30 softcover, $45 hardcover.

Foram os dias em que Kamen Rider era sinônimo de um belo Rider Kick, lembrando que golpe Louva Deus é coisa de dublagem. Em 2006 dando continuidade a nova geração surgiu Kamen Rider Kabuto, existem muitos pontos a favor e contra.

A história conta sobre um meteoro que caiu na cidade 7 anos antes, após começaram a aparecer monstros que se chamavam Worms. Ai uma organização, a ZECT criou o Masked Rider System para detonar com eles. O famoso cinto rider vai para nas mãos de Tendou Souji que vive o Kabuto. O resto é chato ficar contando e garanto que vale a pena assistir todos os 49 episódios e o especial. Já o filme foi invenção demais. Fatores básicos dos Rider é o CAST-OFF (descrito mais abaixo), PUT-ON (ao contrário do cast-off), CLOCK-UP e CLOCK-OVER (sistema que quase paralisa o tempo, apenas os Riders e alguns Worms vêem a velocidade normal). Cada Rider tem tipo de ataque e arma e é bem comum se arrebentarem entre si, coisas de um Kamen Rider moderno.

Continuar Lendo Aqui

]]> http://frankrost.wordpress.com/2009/08/11/mazinguer-capitulos-de-09-a-16-glossan-x2/ Tue, 11 Aug 2009 16:12:00 +0000 frankrost http://frankrost.wordpress.com/2009/08/11/mazinguer-capitulos-de-09-a-16-glossan-x2/

Caratula MazingerZ

Caratula Mazinger Z  (Japones)  

Capitulo 9  El Gran demonio Abdora U6 

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Capitulo 10 Dayan Mano de Hierro 

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Capitulo 11 Cañon Galen y Polvora Magnum  Monstruo Mecanico Brigton J 2  

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Capitulo 12  Bicong  O – 9  

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Capitulo 13 Gorongo S2  

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Capitulo 14 Spartan K5 

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Capitulo 15 Ghigul E7 y Goliat W3  Encuentro Final

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Capitulo 16  Glossam X2  El robot  acuatico Tijera  “ La Banda del Mar de Greten  ( Emitido en España)  

Una serie de misteriosos naufragios en alta mar alertan al laboratorio Foto atómico de la posible presencia de un bruto mecánico del profesor Infierno en los mares.

El Mazinger deberá por lo tanto arriesgarse a internarse en el mar, aun no estando destinado para ese uso.

En primer lugar Koji no tiene reparos de meter al Mazinger en en agua, y asi hace, simplemente, lo introduce, y anda por el fondo marino.

Pero Pronto descubre que efectivamente se trata de un monstruo mecánico dotado de unas potentes cuchillas capaces de cortar el más duro de los metales.

El monstruo en cuestión, no anda precisamente como el por el agua si no que bucea impulsado por potentes propulsores. Lo cual supone un grave óbice para enfrentarse a semejante bestia.

Pero Koji también descubre demasiado tarde  que las armas del Mazinger Z son inoperantes bajo el agua.

El Rayo laser, cuando surge de sus ojos sale en todas las direcciones, y no puede ser enfocado hacia el objetivo, el huracán tampoco funciona, y parece que también ocurre lo mismo con el Breast of fire. Puesto que si no su adversario no se esta inmóvil no puede alcanzarlo y en el agua todo resulta inútil. 

El Glosan no solo cuenta con su fuerza y sus terribles pinzas si no que ademas dispara misiles. Alguno de estos alcanza al Mazinger más lo peor es que, las explosiones provocan un alud de piedras que caen sobre Koji.

Despues de caer derrotado el monstruo da por muerto a Koji y al Mazinger Z por hundido, y los deja abandonados a su suerte. Por fortuna no es así, y ambos Koji y el Mazinger se recuperan justo a tiempo de volver a superficie, antes de perecer ahogados.

Al final vencido regresa al centro de investigaciones foto atómicas donde comenta su fracaso y exige a los Profesores que solventen todos estos problemas a la mayor brevedad.

Los profesores entonces son conscientes de las carencias del robot del Doctor Yuzo Kabuto. En verdad no serian estas las primeras.

Aunque la prisa no es buena consejera, debido a la gravedad del caso, se ponen todos a trabajar con gran frenetismo y pronto empiezan a desarrollar todo lo que Koji ha pedido.

Lo primero que le implantan al Mazinger Z son unos propulsores en las plantas de los pies del robot para poderse desplazar bajo el agua.

Mientras los ataques del Gloxan X2 se suceden implacablemente y los barcos de pasajeros sucumben a la maldad del Doctor Infierno y su sicario, el barón Ashler. Koji no puede esperar a que quede desarrollado el delicado sistema de lentes que se ha de probar para que los rayos laser funcionen bajo el agua. Por ello  parte antes de que este listo.

Con los nuevos propulsores, la maniobrabilidad del Mazinger bajo el agua es fantástica, y la sensación es casi de volar.

Pronto encuentra al Monstruo Glossan X2 que no duda en atacar, puesto que confía en volver a derrotar al Mazinger de nuevo. Pero ahora el Mazinger Z ya no esta tan indefenso y le dispara los puños, con la previsión de romperle  primero las afiladas tijeras.

El Glossan  X2 entonces creyendo  torpe, según  el enfrentamiento anterior  al Mazinger bajo el agua, le dispara varios misiles.

Sin embargo  el Mazinger esquiva a placer gracias a sus nuevos propulsores.

Finta y nada, se desplaza, y aunque el misil le siga, el Mazinger, no es alcanzado. Los misiles explotan a su alrededor y  Koji ya es un experto en el manejo de los mandos. Sin embargo ha eludido a uno que ha quedado aun sin explotar.

Tanto es así , que aun sin contar sin armas al final consigue que el misil de su enemigo se vuelva contra el Glosan X2  y alcanzándole de pleno  éste  queda destruido.

Irónico final para aquel que siendo mejor  robot acuático, acabo  precisamente vencido por jactarse de su propia ventaja.

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Titulos finales Mazinger Z