 |
| Japanese |
fuji te |
| Chinese |
feng1 qi2, feng1 zi3 |
| Korean |
you-il-han bang-beop |
| English |
sealed move |
| Japanese |
magari shimoku |
 | Normally four points in a row form two eyes, except in the corner.
The left white group can be killed with A (black B for ko).
The right white group is dead since black can create a bend-four anytime.
According to Japanese rules the right white group thus is dead. |
|
| English |
bend four in the corner.
usually dead shape except under special circumstances. |
| Japanese |
futokoro |
| English |
the basic meaning is "bosom".
in go the term refers to the space inside a surrounded group that
is trying to live. this space may include enemy stones. it is nearly
always used in the context of the proverb: "iki wa futokoro o hiroge
yo" - to live, broaden your girth. (john fairbairn)
capacity for territory |
| Japanese |
yosumi (noun)
yosu miru (verb) |
 | Black 1 asks to white: "do you want the outside or the inside?"
White 2 answers: "the inside!"
White [a] would answer: "the outside!"
Black can adapt his strategy depending on white's answer
(thus ensuring optimal efficiency of the stones). |
|
| Chinese |
shi4 ying4 shou3 |
| English |
move which tests the opponents plans |
| Japanese |
yonrensei (yon+rensei) |
 | The opening pattern after either black [a] or [b] is 'yonrensei'
It's unimportant where exactly white played on the left side |
|
| Chinese |
si4 lian2 xing1 |
| English |
four hoshi stones "in a row" |
| Japanese |
wariuchi |
 | Black 1 is wariuchi, splitting white's position along the lower edge.
When attacked Black 1 can extend to either A or B and thus is safe. |
|
| Chinese |
feng1 duan4 |
| English |
a wedging move which has room for expansion in either direction |
| Japanese |
watari |
 | White's three stones seem lost but they can be saved with 1.
This move sets up two underneath connections: A,B,C or D.
Many tesuji involve underneath connections and as illustrated
by this example it's a powerful technique.
(example taken from The Art of Go, Vol 1 - Connecting Stones) |
|
| Chinese |
du4 guo4; du4 hui2 |
| English |
underneath connection |
| Japanese |
warikomi |
 | Black likes to cut off white's marked stone but normal moves don't work.
The solution is the warikomi at 1. Black 3 next cuts off the white's stones. |
|
| Chinese |
qian4 ru4 |
| English |
move between two enemy stones |
| Japanese |
uchi magari |
 | Black 1 bends around white's stones towards the edge. |
|
| Chinese |
qu3 jing4 |
| English |
to bend around inward |
| Japanese |
tsume go |
 | Black to play and live (see 'ishi no shita') |
|
| Chinese |
si3 huo4 ti2 |
| English |
life and dead problem |
| Proverbs |
| On the second line six die, eight live. | | On the third line, four die, six live. | | In the corner, five stones in a row on the third line are alive. | | Six eyes in a rectangle are alive. | | For rectangular six in the corner, dame is necessary. | | The comb formation is alive. | | For the comb formation in the corner, dame is necessary. | | The carpenter's square becomes ko. | | If there is no stone on the handicap point, the carpenter's square is dead. | | There is death in the hane. | | Strange things happen at the one-two points. | | The L group is dead. |
|
| Japanese |
tsuke koshi |
 | From left to right:
Black likes to cut white's marked stones.
Pushing and cutting (de-giri) gives black bad shape.
Starting with tsuke koshi at 1 gives black good shape. |
|
| Chinese |
kua4 duan4 |
| English |
the proper move to cut a knight jump ('keima') |
| Proverbs |
| Strike at the waist of the knight's move. |
|
| Japanese |
tsuke kaeshi |
| English |
a counter 'tsuke' |
| Japanese |
tsuke hiki |
 | In both situations black 1 is tsuke and black 3 is hiki.
White usually will defend the cutting point at "A" next. |
|
| Chinese |
peng4 tui4 |
| English |
to attach and pull back |
| Japanese |
tsuke |
 | Black 1, playing against white's position is 'tsuke'.
There can be various reasons to play an attachment:
1. a ko threat
2. a ladder breaker
3. a leaning attack
4. to settle in enemy territory
5. to split enemy positions |
|
| Chinese |
peng4 |
| English |
to attach to an enemy stone |
| Japanese |
kata tsugi |
 | A (3,4) joseki:
White 1, defending the cutting point is 'kata tsugi'. |
|
| Chinese |
shi2 jie1 |
| English |
solid connection |
| Japanese |
tewari |
| English |
a method of analysis in which one changes the order of moves in a
sequence and removes superfluous stones in order to evaluate the
basic structure |
| Japanese |
tetchu |
 | Black 1 forms the 'tetchu' shape. |
|
| Chinese |
yu4 zhu4 |
| English |
(steel post)
two stones placed in line vertically and near the edge |
| Japanese |
tesuji |
| Chinese |
shou3 jin1 |
| Korean |
maek-soo
maek-jum |
| English |
skillful/efficient move |
| Proverbs |
| Learn the eye-stealing tesuji. | | Know the eye-stealing tesuji. |
|
| Japanese |
tenuki |
| Chinese |
tuo1 xian1; shou3 ba2 |
| Korean |
son-pae-ki |
| English |
play elsewhere |
| Proverbs |
| With less than 15 stones in danger, tenuki. |
|
| Japanese |
tengen |
| Chinese |
tian1 yuan2 |
| English |
(10,10) point |
| Japanese |
teai |
| Chinese |
shou3 he2 |
| English |
the conditions on which two players play each other, i.e. the handicap |
| Japanese |
takamoku |
 | The points [a] and [b] are 'takamoku' |
|
| Chinese |
gao1 mu4 |
| English |
(4,5) point in the corner, emphasis on center |
| Japanese |
tagai sen |
| Chinese |
hu4 xian1 |
| English |
even --- alternating black and white |
| Japanese |
shita hane |
 | White just entered blacks position.
Black's possible answer could be [a] (hane dashi) or 1 (shita hane). |
|
| Chinese |
xia4 ban1 |
| English |
hane underneath |
| Japanese |
shiro(i) |
| Chinese |
bai2 |
| English |
white |
| Japanese |
shinogi |
| Chinese |
zhi4 gu1 |
| English |
technique to deal with weak groups |
| Japanese |
shimari |
 | An example of a shimari: the keima shimari
Black [a] instead would have formed the ikken-shimari. |
|
| Chinese |
di4 jiao3; shou3 jiao3 |
| English |
corner enclosure |
| Proverbs |
| 5 lines for extension in front of shimari -- Yang Yilun, 7 dan pro. | | In the opening, when you don't know what to play, make a shimari. -- jansteen. |
|
| Japanese |
shicho |
 | (The continuation of the sequence shown under 'dango')
White captures the black stones in shicho. |
|
| Chinese |
zheng1 chi2
zheng1 zi3 |
| Korean |
chook |
| English |
ladder
the chinese term gives one the feeling that you have grabbed a goat or
ox by the horns and are trying to wrestle the animal to the ground,
only to find yourself whipped about.
the japanese term means "ladder" because for some reason they feel the
shape of the stones suggests that shape, though it looks more like a
stairway to me :-). (dr. roy schmidt) |
| Proverbs |
| If you don't know ladders, don't play go. | | Each step in a ladder is worth 7 points. |
|
| Japanese |
sente |
| Chinese |
xian1 shou3 |
| English |
free to play elsewhere |
| Japanese |
sanrensei (san+rensei) |
 | The opening pattern with the three stones is called sanrensei
It's unimportant where exactly white played on the left side |
|
| Chinese |
san1 lian2 xing1 |
| English |
three hoshi stones in a row |
| Japanese |
yongen biraki |
 | Black 1 forms a 'yongen biraki' shape.
It's called 'yongen biraki' since there are four empty spaces between black's stones. |
|
| English |
four point extension |
| Japanese |
sangen biraki |
 | Black 1 forms a 'sangen biraki' shape.
It's called 'sangen biraki' since there are three empty spaces between black's stones.
Black's group has a weakness at "A".
Circumstances will determine whether white will ever invade. |
|
| Chinese |
san1 jian4 chai1 |
| English |
three point extension |
| Japanese |
sagari |
| Chinese |
xia4 li4 |
| English |
extending downward |
| Japanese |
sabaki |
| Chinese |
shan3 dian4 zhan4 shu4 ("lightning strategy") |
| English |
flexible shape
quick development, technique using light shape for settling a group |
| Japanese |
ryo shimari |
 | The ryo shimari opening pattern consisting of four shimari
Nowadays this kind of play is considered very slow paced |
|
| English |
a special 'fuseki', four 'shimari' |
| Japanese |
ponnuki |
 | The ponnuki shape results from a one stone capture with 1. |
|
| Chinese |
kong1 ti2 yi4 zi3 |
| English |
shape after one stone capture |
| Proverbs |
| Pon-nuki is worth thirty points. |
|
| Japanese |
nozoki |
| Chinese |
ci4; kui1 |
| English |
a peeping move which threatens to cut |
| Japanese |
nobi |
| Chinese |
chang2 |
| English |
solid extension |
| Proverbs |
| Hane? Extend! Make it a habit. | | From a cross-cut, extend. |
|
| Japanese |
nirensei (ni+rensei) |
 | The opening pattern with the two stones is called nirensei
It's unimportant where exactly white played on the left side |
|
| Chinese |
er4 lian2 xing1 |
| English |
two hoshi stones in a row |
| Japanese |
niken biraki |
 | White 1 just attacked black's marked stone.
With black 2 ('niken biraki') black gives this group some eye space.
It's called 'niken biraki' since there are two empty spaces between black's stones. |
|
| Chinese |
chai1 er4 |
| English |
two point extension |
| Japanese |
nidan bane (nidan+hane) |
| Chinese |
lian2 ban1 |
| English |
two-step hane |
| Japanese |
narabi |
 | Black 1 ('narabi') is a rarely played 'taisha joseki' continuation.
The idea behind black 1 is that it makes "A" and "B" 'miai'. |
|
| Chinese |
chai1 |
| English |
an extension from a single stone |
| Japanese |
moyo |
| Chinese |
muo2 yang4 |
| English |
territorial framework |
| Proverbs |
| Grab the border point between two moyos. | | To reduce an opponent's large prospective territory, strike at the shoulder. | | In opponents' sphere of influence, avoid sharp conflict, don't move too deep -- Otake Hideo, 9 dan pro |
|
| Japanese |
mokuhazushi |
 | The points [a] and [b] are 'mokuhazushi'. |
|
| Chinese |
mu4 wai4 |
| English |
(3,5) point in the corner
emphasis on quick outside development, not on corner profit
usually intended to expand along the side |
| Japanese |
mannen ko |
| Chinese |
wan4 nian2 jie2 |
| English |
"ten-thousend"-year ko
a ko which both players are reluctant to fight
since they will stake too much while doing so |
| Japanese |
magari |
 | Black 1 bends around white's stones. |
|
| Chinese |
qu3 |
| English |
bend around |
| Japanese |
korigatachi |
| English |
over-concentrated shape |
| Japanese |
ko date |
| Chinese |
jie2 cai2 |
| English |
ko treat |
| Japanese |
kiri nobi |
| Chinese |
duan4 chang2 |
| English |
cut and extend |
| Japanese |
kiai |
| Chinese |
gan3 dou4 jing1 shen2 |
| English |
"fighting spirit" (not quite) |
| Japanese |
kikashi |
 | On the left:
A (4,4) joseki, black [a] next is 'kikashi'
(white [b], black [c] and white [d] will follow).
On the right:
A (5,4) joseki, black [e] next is 'kikashi'
(white will connect with [f]). |
|
| Chinese |
bi1 zhao1 |
| English |
a forcing move
usually made outside the main flow of play.
often answered, then ignored; to be used later in the game |
| Proverbs |
| Grab the shape points as kikashi. |
|
| Japanese |
keshi |
 | White's bottom moyo has weak points at [a] (keshi), [b] and [c] |
|
| Chinese |
xiao1, qian3 xiao1 |
| English |
erasing move |
| Proverbs |
| Keshi is worth as much as an invasion! | | Be a little patient. Keshi works! | | To invade, need 20 points in open area; otherwise, keshi is best. -- Yang Yilun, 7 dan pro. |
|
| Japanese |
kata tsuki |
| Chinese |
jian1 chong1 |
| English |
(shoulder hit)
a play on a diagonal of the opponent's stone |
| Proverbs |
| To reduce an opponent's large prospective territory, strike at the shoulder. |
|
| Japanese |
kakae |
 | A (3,4) joseki, black 1 is kakae, firmly capturing the white cutting stone. |
|
| Chinese |
bao4 chi1 |
| English |
a grasping move |
| Japanese |
joseki |
| Chinese |
ding4 shi2
ding4 shi4 |
| Korean |
jungsuk |
| English |
(established stones)
standardized local exchange of moves
known sequences of moves often near the corner which result
in a near equal position for both sides |
| Proverbs |
| When you study joseki, you lose two stones in strength. | | A meijin needs no joseki. | | Go is essentially a form of harmony. Go in the 21st century will have to be go of the 'harmony of the six points - the four quarters, the above and the below.' As in life we will need to view the whole rather than the part. Japanese go has focused too heavily on the local (joseki) rather than the whole for 300 years. The reason the Chinese and Koreans are overtaking the Japanese is that they are closer to achieving this whole-board view. --- Go Seigen, 9 dan pro, 1994. |
|
| Japanese |
ji |
| Chinese |
shi2 di4 |
| Korean |
zip |
| English |
territory |
| Proverbs |
| Always remember, keep the balance (between territory and influence) -- Figaro |
|
| Japanese |
itte yose ko |
| Chinese |
yi1 qi4 jie2 |
| English |
one-move approach ko |
| Japanese |
ishi no shita |
 | Black to play and live
(white 6 at 4, white 8 at 2, black 9 above 5 (ishi no shita)) |
|
| Chinese |
dao4 tuo1 xue1 |
| English |
(under the stones)
name of a tesuji (see tsume go) |
| Proverbs |
| Learn to play under the stones. |
|
| Japanese |
hoshi |
 | The black stones are on the hoshi points in the corner,
The white stones are on the hoshi points along the edge,
The marked black stone is on the hoshi point in the center. |
|
| Chinese |
xing1 wei4 |
| English |
star point |
| Japanese |
hamete |
| Chinese |
qi1 zhao1 |
| English |
a trick play |
| Japanese |
gote |
| Chinese |
hou4 shou3 |
| English |
a move not requiring an answer |
| Japanese |
geta |
 | In both positions black can capture the white cutting stones in a geta.
On the left with [a], on the right with [b]. |
|
| Chinese |
jia1 |
| English |
net
a method of capturing a enemy stone; a net trap.
the shape of the stones resembles a wooden clog |
| Japanese |
fuseki |
| Chinese |
bu4 ju2, kai1 ju2 |
| Korean |
posuk |
| English |
opening |
| Proverbs |
| Keep sente in the opening. A premature attack loses sente. | | Corner, side, centre. |
|
| Japanese |
de giri |
 | Black 1 (de) and black 3 (kiri) cut the white stones. |
|
| Chinese |
chong1 duan4 |
| English |
a sequence of two moves which push and cut |
| Japanese |
de |
 | Black 1 pushes (de) through the marked white shape.
Usually white will block with "A" and black will cut "B".
Playing the push without the intention to play the cut is very bad
since it strengthens white while black didn't accomplish anything. |
|
| Chinese |
chong1 chu1 |
| English |
a move which pushes between two enemy stones |
| Japanese |
dango |
 | The 11 stone black group only have two liberties, a typical 'dango' shape.
White [a] next will continue the attack.
Initial moves: see 'guru guru mawashi'
Final result: see 'shicho' |
|
| Chinese |
yi4 tuan2 (yu1 xing2) |
| English |
a solid mass of stones; a very inefficient shape |
| Proverbs |
|
| Japanese |
dame |
| Chinese |
kong4 mu4; dan1 guan1 |
| English |
a neutral point, territory for neither; a liberty |
| Proverbs |
| Don't play on dame points, but guarantee connections. | | For rectangular six in the corner, dame is necessary. | | For the comb formation in the corner, dame is necessary. |
|
| Japanese |
choshi ga ii |
 | White (Go Seigen) to play.
White actually wants to extend along the right edge.
By first forcing with 1 through 5, the extension 7
becomes more natural, part of the "flow of moves". |
|
| Chinese |
hao3 jie2 zou4, hao3 diao4 zi |
| English |
natural flow of moves |
| Japanese |
byo yomi |
| Chinese |
du2 miao3 |
| English |
(literally, "seconds-reading" in japanese, and
"reading-seconds" in chinese.)
overtime. the time given a player (usually 30 seconds or 60 seconds
per move) to complete his move after his clock time has run out |
| Japanese |
botsugi |
 | Black [a] (botsugi) prevents white from cutting him there |
|
| Chinese |
lian2 (bang4) |
| English |
solid connection of an ikken tobi |
| Japanese |
boshi |
 | Cho Chikun - Otake Hideo, 7th Meijin title, 29 & 30 September 1982
White attacked black with: 1 (boshi), 2, and 3 (again boshi). |
|
| Chinese |
zhen4 |
| Korean |
mo-ja-seu-wum |
| English |
playing on top of an enemy stone (a capping move) |
| Proverbs |
| If your stone is capped, play the knight's move. |
|
| Japanese |
biraki
hiraki |
 | White [a]-[f] are all biraki/hiraki of the white stone
A sensible choice between these moves
will be affected by the right side situation |
|
| Chinese |
chai1 |
| English |
extension |
| Japanese |
basami
hasami |
 | Black [a]-[f] are all hasami (or 'basami'). |
|
| Chinese |
jia2 |
| English |
(pincer)
a play that attacks by preventing the opponent's extension down either side |
| Japanese |
bane
hane |
 | We are in the middle of a 'komoku joseki' (black to move)
Black can raise his low position by playing at 1 ('hane') |
|
| Chinese |
ban1 |
| English |
a move on top of an enemy chain |
| Proverbs |
| Hane? Extend! Make it a habit. | | There is death in the hane. | | At the head of two stones in a row, play hane. | | At the head of three stones in a row, play hane. |
|
| Japanese |
atsumi |
| Chinese |
hou4 shi4 |
| English |
thickness
strong formation of stones facing the center or facing along a side |
| Proverbs |
| Keep away from thickness. | | Don't make territory near thickness. | | Use a wall to attack, not to make territory. | | When your opponent is thick, you must also become thick. -- Otake Hideo, 9 dan pro | | There is a thin line between thick and slow. -- jansteen. | | Always remember, keep the balance (between territory and influence) -- Figaro |
|
| Japanese |
ate komi |
 | We are in the middle of a 'hoshi joseki' (black to move).
Normal continuations at this point are [a] or 1 ('ate komi'). |
|
| English |
playing inside an enemy kosumi |
| Japanese |
ate
atari |
 | Black 1 gives atari.
The white stone now is in atari. |
|
| Chinese |
jiao4 chi1 |
| English |
check |
| Proverbs |
| Atari, atari is vulgar play. | | Keep inessential ataris till the end. |
|
| Japanese |
aji keshi |
 | A well known position after white invaded hoshi
Exchanging black 1 (forcing white 2) is aji keshi since
black will loose the option to play [a] (threatening 2) |
|
| Chinese |
xiao1 yu2 wei4 |
| English |
spoiling possibilities |
| Japanese |
aji |
| Chinese |
yu2 wei4; jie4 yong4 |
| Korean |
mat |
| English |
possibilities, potential |
| Japanese |
ai |
| Chinese |
bai2 |
| Korean |
baek |
| English |
white |
| Japanese |
yurumi shicho |
 | This position arose from a 'hoshi joseki' and it is black's move.
If black defends his cutting stones with 1, white can capture
them using the 'yurumi shicho' and 'geta' technique.
(Please note that this sequence works since white 6 and 8 are 'sente'.)
The correct 'joseki' move therefore is one point above [3]. |
|
| English |
loose ladder |
| Japanese |
uttegae
uttegaeshi |
 | White 1 is uttegaeshi, when black captures this stone
white captures three stones by playing again at 1. |
|
| Chinese |
dao4 pu1 |
| English |
snapback
a sacrifice manoeuvre |
| Japanese |
uchikake |
| Chinese |
da3 gua4 |
| English |
suspending play during a game
(it was white's privilege to suspend play on his move) |
| Japanese |
tsuki dashi |
 | Black 1 is 'tsuki dashi.' If white 2 blocks black can cut next,
either above or below 2. |
|
| Chinese |
chong1 |
| English |
pushing in between two enemy stones. |
| Japanese |
tsuki atari |
 | Black a is an example of 'tsuki atari'. |
|
| Chinese |
ding3
tie1 chang2 |
| English |
thrusting against
to extend against an enemy stone |
| Japanese |
tsuke osae |
 | The combination white 1 and 3 is called 'tsuke osae' |
|
| Chinese |
peng4 dang3 |
| English |
attach and block. used in 4-4 point joseki to take the corner. |
| Japanese |
tsuke nobi joseki |
 | The combination white 1 and 3 is called 'tsuke nobi'.
In this case the combination initiates the 'tsuke nobi joseki'. |
|
| Chinese |
kao4 ya1 ding4 shi4 |
| English |
4-4 point joseki where you attach against the knight's move approach
and extend when they hane |
| Japanese |
tsuke nobi |
 | Black's 1 (tsuke) and 3 (nobi) effectively split white's marked stones.
White also has to worry about the cutting point at "A". |
|
| Chinese |
peng4 chang2 |
| English |
attach and extend |
| Japanese |
tochika |
 | The three white stones form a 'tochika' shape.
In this position, an extension to either [a] or [b] would be ideal. |
|
| English |
a pillbox enclosure |
| Japanese |
tenkai |
| Chinese |
zhan3 kai1 |
| English |
extension (see hiraki) |
| Japanese |
tejun |
| Chinese |
ci4 xu4, shou3 shun4 |
| English |
order, sequence |
| Japanese |
teire |
| Chinese |
bu3, xiu1 bu3 |
| English |
repair |
| Japanese |
tedomari |
| English |
the last meaningful point in the fuseki or in the endgame |
| Japanese |
takefu |
 | White 1 ensures a connection by forming a 'take fu' shape. |
|
| Chinese |
shuang1 ("double") |
| English |
bamboo joint, a connection technique |
| Proverbs |
| Never try to cut bamboo joints. | | There is damezumari at the bamboo joint. | | Grab the 4th point of the bamboo joint. -- Bill Taylor |
|
| Japanese |
takamoku joseki |
 | Black 1, white 2 initiates a typical 'takamoku joseki'. |
|
| Chinese |
gao1 mu4 ding4 shi4 |
| English |
joseki following from an initial stone at the 4-5 point |
| Japanese |
taisha |
 | White 1 initiates the 'taisha joseki'. |
|
| Chinese |
da4 xie2 (ding4 shi4) |
| English |
big, name of a joseki |
| Japanese |
taisha joseki |
 | White 1 initiates the 'taisha joseki'.
(The most complicated variations in this joseki start with 2 through 5). |
|
| Chinese |
da4 xie2 ding4 shi4 |
| English |
joseki, famous and feared for the amount of variations |
| Japanese |
susoaki |
 | Black's position is open to a white play at 1.
Therefore extensions along the bottom are not so valuable for black. |
|
| Chinese |
bian1 shang4 lou4 feng1 |
| English |
open at the edge. (makes an area low value as it is hard to surround) |
| Japanese |
soto magari |
 | Black 1 bends around white's stones towards the center. |
|
| English |
to bend around outward |
| Japanese |
shusaku fuseki |
 | The 'shusaku fuseki' pattern.
Black 7 would be considered too slow nowadays (since white receives
compensation for the fact that black started the game, usually 5 1/2 point).
A modern professional would play around [a]. |
|
| Chinese |
xiu4 ce4 liu2 (bu4 ju2) |
| English |
fuseki strategy for black based on 3 3-4 points. |
| Japanese |
shobute |
| Chinese |
sheng4 fu4 shou3 |
| English |
do-or-die move |
| Japanese |
shin fuseki |
 | A 'shin fuseki' pattern by Go Seigen (against Honinbo Shusai, 1933)
White won this game by 2 points. |
|
| Chinese |
xin1 bu4 ju2 |
| English |
"new fuseki", based on 4-4 points stressing centre.
pioneered by go seigen and kitani minoru. |
| Japanese |
shime tsuke |
 | White's stones at the bottom are sacrificed to be able to "strangle" black
with white 1 through 7 ('shibori'). |
|
| English |
to strangle |
| Japanese |
sen ni sen |
| Chinese |
xian1 er4 xian1 |
| English |
alternating black-two stones, with this game on black |
| Japanese |
sensei |
| Chinese |
lao3 shi1, shi1 fu4 |
| Korean |
sa-bum |
| English |
literally 'teacher'
professional go players are usually referred to as sensei |
| Japanese |
sen ni |
| Chinese |
xian1 er4 |
| English |
alternating between black and two stones
(the handicap for a four-dan difference) |
| Japanese |
sen ai sen |
| Chinese |
xian1 xiang4 xian1 |
| English |
black-black-white (the handicap for a 1-dan difference) |
| Japanese |
ozaru suberi |
 | White 1 reduces the black territory by jumping in
with a large knight jump ('o-keima'). |
|
| Chinese |
da4 fei1 tiao4 |
| English |
big monkey jump, typical endgame move |
| Japanese |
saru suberi |
 | White 1 reduces the black territory by jumping in
with a knight jump ('keima'). |
|
| Chinese |
xiao3 fei1 diao4 |
| English |
monkey jump, typical endgame move |
| Japanese |
sangen basami (sangen+hasami) |
 | White [a] is 'sangen basami' |
|
| Chinese |
san1 jian4 jia2 |
| English |
a three point pincer |
| Japanese |
sandan |
| Chinese |
san1 duan4 |
| English |
3 dan (or 3 step) |
| Japanese |
san san fuseki |
| Chinese |
san1 san1 bu4 ju2 |
| English |
fuseki pattern with a stone at 3-3 point |
| Japanese |
sanmoku nakade |
 | The black group is dead when white plays 1 |
|
| Chinese |
zhi2 san1 |
| English |
dead shape with 3 spaces |
| Japanese |
sanba garasu |
 | White 1 through 3 form the 'sanba garasu' corner enclosure. |
|
| Chinese |
san1 yu3 niao3, san1 yu3 wu1 ya1 |
| English |
three crows, a corner enclosure consisting of three diagonal moves |
| Japanese |
ryoyoku |
 | This shape, consisting of a 'keima shimari' plus two extensions
is considered a special case of 'ryoyoku' called 'kakuyoku'
(cranebird wings). |
|
| Chinese |
liang3 yi4 (zhang1 kai1) |
| English |
a double wing |
| Japanese |
ryo sente |
 | Both black [a] or white [b] is 'sente', so the situation is 'ryo sente' |
|
| Chinese |
shuang1 fan1 xian1 shou3 |
| English |
double sente, an (endgame) situation which is sente for both players |
| Japanese |
ryo ko |
 | White is alive with double 'ko', since when black takes the 'ko' at [a],
white will take the 'ko' at [b] and visa versa.
The funny thing about this situation is that although black can't capture
the white group it will give him an unlimited amount of 'ko' threats. |
|
| Chinese |
shuang1 jie2 |
| English |
double 'ko', a position with two 'ko' fights where only
one fight needs to be won |
| Japanese |
ryo gote |
 | Both black [a] or white [b] is 'gote', so the situation is 'ryo gote' |
|
| Chinese |
shuang3 fang1 hou4 shou3 |
| English |
double gote, an (endgame) situation which is gote for both players |
| Japanese |
rokumoku nakade
hana roku |
 | The black group is dead when white plays [a] |
|
| Chinese |
hua1 liu4 |
| English |
flower-six
dead shape with 6 spaces (also known as rabbity six) |
| Japanese |
rengo |
| Chinese |
lian2 qi2 |
| Korean |
yeonki |
| English |
a team game
(the players in each team take turns without consulting each other) |
| Japanese |
oshi tsubushi |
 | White's group is alive since black can not connect
the two stones at [a] (due to the suicide rule) |
|
| Chinese |
zhang4 si3 niu2 (a full-stomached cow :-) |
| English |
making eye shape by using shortage of liberties to prevent
the opponent connecting to make a dead (nakade) shape |
| WWW | oshi tsubushi |
|---|
| Japanese |
osae komi |
 | White 1 is 'osae komi'. |
|
| Chinese |
dang3 |
| English |
to stop the opponent from moving outward |
| Japanese |
ori kiri (noun)
ori kiru (verb)
sagari kiri (noun)
sagari kiru (verb) |
 | White 1 is 'ori kiru'.
Actually, in this situation it also kills the black group,
but please note that this is not the essence of this kind of move. |
|
| Chinese |
xia4 li4 |
| English |
a descending move while finishing the shape |
| Japanese |
oki |
 | White 1 is 'oki'.
In this example it means the death of the black group,
but please note that this is not the essence of this move. |
|
| Chinese |
dian3 |
| English |
placement (a stone placed inside an opponent's group) |
| Japanese |
oi-otoshi |
 | After throwing in twice with white 1 and 3, white ensures
live by connecting at 5. Black can not save all his stones. |
|
| Chinese |
jie1 bu4 gui1 |
| English |
a method to capture where stones are sacrificed to destroy the
enemy's eye shape (and use shortage of liberties to prevent connection) |
| Japanese |
ogeima shimari
ogeima zimari |
 | The ogeima shimari is a light structure:
A white stone at [a] for example is aiming at [b] next.
A white stone at [c] would enable a follow up at [d] or [e]. |
|
| Chinese |
dai4 fei1 shou3 jiao3 |
| English |
the (3,4) and (6,3) points; loosley holds corner |
| Japanese |
ogeima kakari
ogeima gakari |
 | White [a] is a 'ogeima gakari' |
|
| Chinese |
dai4 fei1 gua4 jiao3 |
| English |
large knight's move approach to 3-4 stone |
| Japanese |
ogeima kake
ogeima gake |
 | White 1 combines the large knight jump ('ogeima') and a cover ('kake'). |
|
| English |
a move which combines the large knight jump with a "cover" |
| Japanese |
nobi kiri |
 | White 1 is 'nobi kiri'. |
|
| English |
extension which finishes the shape |
| Japanese |
nobi dashi |
| English |
an extension towards the center |
| Japanese |
niken takabasami |
 | White 1 is 'niken takabasami' (two-point high 'basami'). |
|
| Chinese |
er4 jian4 jia2 |
| English |
2 point high pincer |
| Japanese |
nidan osae |
 | The combination white 1 and 3 is 'nidan osae'. |
|
| Chinese |
lian2 ban1 |
| English |
a two-step block ('osae') |
| Japanese |
myoshu |
| Chinese |
miao4 shou3 (!!!) |
| English |
an exquisite/brilliant move |
| Japanese |
kogeima shimari
kogeima zimari |
 | The kogeima shimari has a weakness at (5,5) in the centre:
A white stone at 1 is aiming at the attachments at either [a] or [b]. |
|
| Chinese |
xiao3 fei1 shou3 jiao3 |
| English |
(small knight's enclosure)
the 3-4 and 5-3 points, strong towards the corner; weak to the center.
the 5-5 (high-point) is a weakness |
| Japanese |
kirikomi |
 | White 1 (black 2, white 3) is 'kirikomi', meant as a sacrifice
promising white various 'sente' moves in the area. |
|
| Chinese |
duan4 ru4 |
| English |
a cut inside the enemy territory, normally it will imply a sacrifice |
| Japanese |
kimeuchi |
| Chinese |
ding4 xing2 |
| English |
settling (freezing) the shape
kobayashi koichi 9 dan, tends to play 'kimeuchi' |
| Japanese |
kiki (noun)
kiku (verb) |
 | White [a] is white's privilege ('kiki'), black has to defend at [b].
Because of [a] white can aim at either [c] or [d]. |
|
| Chinese |
quan2 li4 (yi4 fang1) |
| English |
one side privilege |
| Japanese |
keima watari |
 | White 1 is 'keima watari'
(if black [a], white [b] maintains the connection) |
|
| Chinese |
fei1 du4 |
| English |
knight-move bridge-underneath tesuji, connects seemingly isolated stones |
| Japanese |
keima tsugi |
 | White 1, defending the cutting point at [a] is 'keima tsugi'. |
|
| Chinese |
fei1 bu3 |
| English |
a knight-shape connection
a connection using a knight-jump shape |
| Japanese |
keima gakari (keima+kakari) |
 | White 1 is a 'keima gakari'. |
|
| Chinese |
xiao3 fei1 gua4 (xiao3 mu4) jiao3 |
| English |
knight's move approach to a 3-4 stone. |
| Japanese |
karui |
| Chinese |
qing1 |
| English |
light, i.e. stones with light, flexible shape which can easily be
looked after, or stones which have served their purpose and can be
discarded without ill effects |
| Japanese |
kamo |
| Chinese |
"di1 shou3" :-) |
| English |
easy opponent (literally, "duck") |
| Japanese |
kami tori |
 | White 1 is 'kami tori' since it captures a stone and
weakens the black group at the same time. |
|
| English |
a combination of capture and other damage |
| Japanese |
kame no ko |
 | The shape after capturing two stones resembles a tortoise shell |
|
| Chinese |
gui1 xing2 |
| English |
tortoise shell (shape made by the capture of 2 stones) |
| Japanese |
kamae |
| Chinese |
gou4 xiang3 (quan2 ju2) |
| English |
a global shape (like the 'san rensei', or a 'shimari' + extension) |
| Japanese |
kakutei ji |
| Chinese |
shi2 di4 |
| English |
secure territory (100%) |
| Japanese |
jubango |
| Chinese |
shi2 fan1 qi2 |
| English |
a ten-game match |
| Japanese |
jozu |
| English |
7th dan (literally 'skillful') |
| Japanese |
jitsuri |
 | White has 'gaisei', black has 'jitsuri' |
|
| Chinese |
shi2 li4 |
| English |
visible territory/points (see 'gaisei') |
| Japanese |
jingasa nakade |
 | The black group is dead when white plays "A" |
|
| Chinese |
ding1 si4 |
| English |
dead shape with 4 spaces shaped like a pyramid |
| Japanese |
jidori go |
| Chinese |
zheng1 di4 (shuang1 fang1) |
| English |
both players are territorily aimed |
| Japanese |
itte ko
itte yose ko |
| Chinese |
yi1 shou3 jie2 |
| English |
one step 'ko' |
| Japanese |
ippoji |
| Chinese |
yi1 kuai4 di4 (er2 yi3 :-) |
| English |
one and only one large territory |
| Japanese |
ikken takagakari |
 | White 1 is 'ikken takagakari'. |
|
| Chinese |
yi1 jian4 di4 (xiao3 mu4) jiao3 |
| English |
one point high approach move to 3-4 point stone |
| Japanese |
ikken shimari
ikken zimari |
 | This 'ikken shimari' is weak along the lower edge:
When white has a stone at "A" he can aim at either "B" or "C". |
|
| Chinese |
yi1 jian4 shou3 (xiao3 mu4) jiao3 |
| English |
the 3-4 and 5-4 points
strong to the center, rather weak along the edge due to (7,3). |
| Japanese |
ichigo masu |
 | The corner shape resembles the 'ichigo masu' and thus is called like that |
|
| Chinese |
jin1 gui4 jiao3 |
| English |
an 180ml measure cup, carpenter's square |
| Proverbs |
| The carpenter's square becomes ko. | | If there is no stone on the handicap point, the carpenter's square is dead. |
|
| Japanese |
horikomi
hori komi |
| Chinese |
pu1, pu1 jing4 |
| English |
throw in, a single stone played as a sacrifice
(for exmaples please refer to 'oi otoshi' or 'uttegaeshi') |
| Japanese |
honte |
| Chinese |
ben3 shou3 |
| English |
proper move in a given situation, although it may appear slow |
| Japanese |
hisso no pointo
hissoten |
| Chinese |
yao4 dian3, ji2 suo3 |
| English |
keypoint |
| Japanese |
hiraki zume |
 | White 1 is 'hirake zume', both an extension of the white
position on the left and an opposition of the marked black stone. |
|
| Chinese |
chai1 bi1 |
| English |
extension + opposition |
| Japanese |
suberi
hashiri |
 | The white move at 5 is a 'keima suberi' (or 'hashiri')
A white move at "A" would be a 'ogeima suberi' (or 'hashiri'). |
|
| Chinese |
jing4, fei1 jing4 |
| English |
slide, typically with 'keima', or 'ogeima' but not necessarily |
| Japanese |
hasami tsuke |
 | White 4 is 'hasami tsuke'. |
|
| Chinese |
jia2 |
| English |
clamp, a move which pincers and attaches |
| Japanese |
harazuke
hara tsuke |
 | White 1, 'harazuke', ensures white will win the corner fight |
|
| English |
attaching at the belly |
| Japanese |
hane komi |
 | After black 1, white 2 is 'hane komi'. |
|
| Chinese |
ban1 ru4 |
| English |
a move which combines 'hane' and 'warikomi' |
| Japanese |
hane dashi |
 | After black 1, white 2 is 'hane dashi'. |
|
| Chinese |
nei4 ban1 |
| English |
to answer the opponents 'keima tsuke' move with an "inside" 'hane' |
| Japanese |
hane tsugi |
 | The combination white 1 and 3 is called 'hane tsugi'. |
|
| Chinese |
ban1 lian2 |
| English |
combination of 'hane' and connection. |
| Japanese |
hane nobi |
 | The combination white 1 and 3 is called 'hane nobi'. |
|
| Chinese |
ban1 chang2 |
| English |
combination of 'hane' and extend (from 'hane' stone) |
| Japanese |
hane kaeshi |
 | After black "A" white "B" would be 'hane kaeshi' |
|
| Chinese |
fan3 ban1 |
| English |
counter 'hane' |
| Japanese |
hane age (noun)
hane ageru (verb) |
 | White "A" would be 'hane age' |
|
| English |
a special kind of 'hane' |
| Japanese |
hana yori dango |
| Korean |
sil-sok-eul cha-ri-da |
| English |
old japanese saying meaning something like:
"fame is nice but cash might be better"
('hana' = flower, 'dango' = 'japanese sweet' and 'yori' = 'than') |
| Japanese |
guzumi |
 | Many empty diagrams in this example,
but the one made by whites last move at j6 is 'guzumi'. |
|
| Korean |
bin-sam-gak-eo myo-soo |
| English |
an efficient (and thus acceptable) empty triangle (see 'aki san kaku') |
| Japanese |
gyaku yose |
| Chinese |
ni4 xian1 shou3 |
| Korean |
him-deun jong-ban-jeon |
| English |
reverse 'sente' ('gote' endgame play where opponent would be 'sente') |
| Japanese |
guru guru mawashi |
 | What will happen after white "A"?
Continuation: see 'dango'.
Final result: see 'shicho'. |
|
| Chinese |
lian2 huan2 zheng1 zi3 |
| Korean |
dol-dol mal-ri-da |
| English |
capturing an enemy chain using the following combination of techniques:
1. stone sacrifice(s)
2. squeeze
3. ladder
during this chasing process the enemy chain typically gets heavy in
the process. |
| Japanese |
gote no sente |
| Korean |
hoo-su-eoi seon-soo |
| English |
temporary it is 'gote' but the follow up is servere 'sente' |
| Japanese |
goken biraki |
 | Black 1 forms a 'goken biraki' shape.
It's called 'goken biraki' since there are five empty spaces between black's stones. |
|
| English |
five point extension |
| Japanese |
gomoku nakade |
 | The black group is dead when white plays "A" |
|
| Chinese |
hua2 wu3, dao1 ban3 wu3 |
| English |
dead shape with 5 spaces |
| Japanese |
gacchiri |
| Chinese |
yan2 shi2 |
| Korean |
teun-ten-han mo-yang |
| English |
solid |
| Japanese |
gaisei |
 | White has 'gaisei', black has 'jitsuri' |
|
| Chinese |
wai4 shi4 |
| English |
influence (see 'jitsuri') |
| Japanese |
fukure
fukurami |
 | White "A" would be 'fukure' (or 'fukurami') |
|
| English |
swell outward |
| Japanese |
eguri |
| Chinese |
sou1 geng1 |
| Korean |
jji-reu-da |
| English |
to damage the opponents territory |
| Japanese |
chosei |
 | Imagine the following sequence of moves:
(1) Black plays "A", threatening to kill white by playing "B",
(2) White defends by playing at "B" himself,
(3) Black captures those two white stones,
(4) White recaptures at (d,1).
This sequence would give exactly the same position we had before, making
this position 'chosei'. This game would become 'no result' according to
the "Japanese rules of Go". |
|
| Chinese |
chang2 sheng1 |
| Korean |
wan-saeng |
| English |
eternal life, part of the rules of japanese go |
| WWW | chosei |
|---|
| Japanese |
butsukari |
 | Black just played the marked stone, aiming [a].
White [b], defending against this threat, is 'butsukari'. |
|
| Chinese |
ding3 |
| Korean |
boo-dit-chi-da |
| English |
to thrust against an enemy stone |
| Japanese |
bata bata tesuji |
| Chinese |
gun3 da3 bao1 shou1 |
| Korean |
heol-reong-han soo-dan |
| English |
slang for 'oi-otoshi' |
| Japanese |
atsui |
| Chinese |
hou4, hou4 shi2 |
| Korean |
doo-teo-um |
| English |
thick, no 'aji' left
strong formation of stones facing the center or facing along a side |
| Japanese |
ate-tsugi |
 | We are in the middle of a 'hoshi joseki'.
Two variations starting from here start with 'ate-tsugi':
1. White [a], Black [b], White [c], or
2. White [a], Black [b], White [d] |
|
| Chinese |
da3 (he2) lian2 |
| English |
the combination of a (single stone) check move and a connection move |
| Japanese |
atama ga dete iru |
| Korean |
meo-ri-reul nae-mil-da |
| Japanese |
appaku |
 | White could decide to play [a], black [b], white [c], ...
White [a] and [c] would be 'appaku' (pressing). |
|
| Chinese |
bi1 |
| English |
pressing |
| Japanese |
aoru |
 | This is a position where one could call the white moves: 'aoru'.
White is chasing the black stones with 'aoru' movement. |
|
| Korean |
boo-chu-gi-da |
| English |
to wave |
| Japanese |
ajiwai ga aru |
| English |
tasteful |
| Japanese |
aji nokori |
| Chinese |
liu2 you3 yu2 wei4 |
| Korean |
mat-i nam-da |
| English |
'aji' (potential) left |
| Japanese |
aji ga warui |
| Chinese |
you3 e4 wei4 |
| Korean |
mat-i na-bbeu-da |
| English |
there is bad 'aji' (potential) in the position. |
| Japanese |
aji ga aru |
 | Black has an impressive potential in the lower part of the board.
While thinking about the best way to reduce it, white will realise
that he has aji at [a] (to live), and [b] (invasion). |
|
| Chinese |
you3 (yu2) wei4 |
| Korean |
mat-i it-da |
| English |
there is some 'aji' (potential) in the situation. |
| Japanese |
aji waru |
| Chinese |
e4 wei4, huai4 wei4 |
| English |
bad 'aji' (potential) |
| Japanese |
ago |
 | White [a] would be called 'ago', the chin of the black stones
(but there are many other cases like this where one could say 'ago') |
|
| Korean |
teok |
| English |
chin |
| Japanese |
amashi |
| English |
a strategy for white in no-'komi' games
in which he lets the opponent take good points
but as compensation takes territory, aiming to 'outlast' the opponent |
| Japanese |
choushi |
| English |
rhythm;
pros and future pros seem to have good 'choushi' instinctively.
it is, in its effect, rather like good timing in the sense that
top pros in physical sports always seem to have more time to
do whatever they're doing on the ball. it is a good candidate
for those words that some people argue are better off borrowed
straight from japanese. (john fairbairn) |
| |
