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Tanegashima , most often called in Japanese and sometimes in English hinawajū (火縄銃, "matchlock gun"), was a type of matchlock-configured [1] arquebus [2] firearm introduced to Japan through the Portuguese Empire in 1543. [3] It was used by the samurai class and their ashigaru "foot soldiers", and within a few years its introduction in ...
Portuguese firearms were introduced in 1543, [2] and intense development followed, with strong local manufacture during the period of conflicts of the late 16th century. Hōjutsu, the art of gunnery, is the Japanese martial art dedicated to firearms usage.
In 1543, Europeans reached Japan for the first time when a junk belonging to the Chinese wokou pirate lord Wang Zhi carrying Portuguese traders was shipwrecked at Tanegashima. The Portuguese introduced the arquebus to the Japanese during this chance encounter, which gave the Japanese, embroiled in the bloody Sengoku period at the time, a ...
Ashigaru wearing armor and jingasa firing tanegashima (Japanese matchlocks). Ashigaru (足軽, "light of foot") were infantry employed by the samurai class of feudal Japan.The first known reference to ashigaru was in the 14th century, [1] but it was during the Ashikaga shogunate (Muromachi period) that the use of ashigaru became prevalent by various warring factions.
In the West, the onna-musha gained popularity when the historical documentary Samurai Warrior Queens aired on the Smithsonian Channel. [41] [42] Several other channels reprised the documentary. The 56th NHK taiga drama, Naotora: The Lady Warlord, was the first NHK drama where the female protagonist is the head of a samurai clan. [43]
Samurai I won the 1955 Academy Award for Best Foreign Language Film.. In a review almost 60 years after the release of the trilogy, the late academic and film critic Stephen Prince noted "the absence of gore" in the films: "Severed limbs and spurting arteries hadn't yet arrived as a movie convention, and the fights in The Samurai Trilogy are relatively chaste, not showing the carnage that such ...
Serving as parts of a 4-part series, the first and second installments are representative films of Masahiro Makino, the son of Shozo Makino (considered the 'father of Japanese film'). The Story 2 consists of two parts - the "first chapter" (第一篇 ( Dai-ippen ) ) and "the solution" (解決篇 ( Kaiketsuhen ) ).
This mesmerizing, atmospheric samurai tale infuses the genre with a subversive undercurrent of homoerotic frisson. When the young, strikingly handsome Kano Sozaburo ( Ryuhei Matsuda ) joins an elite samurai unit , his presence unleashes tensions among his fellow swordsmen—including his superior Hijikata Toshizo ( Takeshi Kitano )—as they ...