 |
| 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 |
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 |
uchi tsuke |
| Chinese |
nei4 peng4 |
| English |
to attach inside |
| Japanese |
uchi |
| English |
inside or 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 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 |
kake tsugi |
 | A (3,4) 'joseki'
Black 1, defending against the cut at [a] is 'kake tsugi' |
|
| Chinese |
hu3 |
| English |
hanging connection |
| Japanese |
kata tsugi |
 | A (3,4) joseki:
White 1, defending the cutting point is 'kata tsugi'. |
|
| Chinese |
shi2 jie1 |
| English |
solid connection |
| Japanese |
tobi komi |
| Chinese |
tiao4 jing4 |
| English |
jump inside |
| Japanese |
tobi dashi |
| Chinese |
tiao4 chu1 |
| English |
jump outside |
| 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 |
soto |
| Chinese |
wai4 bian1 |
| English |
outside |
| 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 |
shinogi |
| Chinese |
zhi4 gu1 |
| English |
technique to deal with weak groups |
| Japanese |
shicho atari |
| Chinese |
ying3 zheng1 |
| English |
a move which affects a ladder |
| 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 |
seki |
 | The two surrounded chains are 'seki' |
|
| Chinese |
shuang1 huo2 |
| Korean |
bik |
| English |
a draw capturing race |
| Japanese |
semeai |
| Chinese |
dui4 sha1 |
| English |
capturing race |
| Proverbs |
| If there is a ko inside a semeai, capture it on the final play. | | The semeai where only one player has an eye is a fight over nothing. | | One big eye kills one small eye. |
|
| 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 |
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 |
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 |
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 |
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 |
nakade |
| Chinese |
dian3 sha1 |
| English |
large shape that can be reduced to one eye
leaving the surrounding group dead |
| Japanese |
nadare |
 | Left side shows the small 'nadare'.
Right side shows the large 'nadare' (also see: 'o nadare'). |
|
| Chinese |
xue3 beng1 (ding4 shi4) |
| Korean |
boong-sul-hyung
noon-sa-tae-hyung |
| English |
name of a joseki (avalanche, "snowslide") |
| 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 |
me ari me nashi |
| Chinese |
you3 yan3 sha1 xia1 ("one eye kills blind") |
| English |
only one side has an eye |
| Proverbs |
| The semeai where only one player has an eye is a fight over nothing. |
|
| Japanese |
miai |
| Chinese |
jian4 he2 |
| English |
mutual exchangeable
two points which accomplish the same value; if deprived of one,
the other must be played. also used in a more general way:
"it's miai to connect or to make eyes" |
| Japanese |
ko |
 | The ko shape |
|
| Chinese |
jie2 |
| English |
repeating fight for one stone |
| Proverbs |
| Dead group? Always win ko fights! | | If there is a ko inside a semeai, capture it on the final play. | | Win the early ko to win the game. | | The weak player fears ko, the strong player seeks it. -- Bill Taylor |
|
| 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 |
keima |
 | The keima shape |
|
| Chinese |
fei1 |
| Korean |
noon-mok-ja |
| English |
knight jump (knight's move) |
| Proverbs |
| If your stone is capped, play the knight's move. | | Answer the keima with a kosumi. | | Use the Knight's move to attack, the 1-point jump to defend. |
|
| 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 |
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 |
jingasa |
| Chinese |
dou3 li4 (yu2 xing2) |
| English |
massif pyramide shape |
| 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 |
ikken tobi |
 | The ikken tobi shape |
|
| Chinese |
yi1 jian4 tiao4 |
| English |
one-point jump |
| Proverbs |
| The strong player plays straight, the weak diagonally. | | Ikken tobi is never wrong. | | Use the Knight's move to attack, the 1-point jump to defend. |
|
| 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 |
furikawari |
| Chinese |
jiao1 huan4 |
| English |
large exchange, swap, trade |
| Proverbs |
|
| 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 |
dan |
| Chinese |
duan4 |
| English |
grade |
| 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 |
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 |
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 |
yonmoku nakade |
 | The black group is dead (even with black to move). |
|
| Chinese |
fang1 si4 |
| English |
dead shape with 4 spaces |
| Japanese |
uchikomu |
| Chinese |
1. da3 ru4
2. da3 ru4 (jiang4 ji2) |
| English |
1. to invade
2. to force an opponent to take a handicap (or force him to
a higher handicap) by taking a lead of four games (six games
at the beginning of the edo period) |
| 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 |
tejun |
| Chinese |
ci4 xu4, shou3 shun4 |
| English |
order, sequence |
| 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 |
ue tsuke |
 | Black 1 is ue tsuke (as opposed to "shita tsuke", underneath attach at "A"). |
|
| English |
outside tsuke |
| Japanese |
shita tsuke |
 | Black 1 is shita tsuke (as opposed to "ue tsuke", outside attach at "A"). |
|
| Chinese |
xia4 peng4 |
| English |
tsuke underneath |
| Japanese |
seri ai |
| Chinese |
jing4 zheng1 |
| English |
dead heat (close competition) |
| Japanese |
sanmoku nakade |
 | The black group is dead when white plays 1 |
|
| Chinese |
zhi2 san1 |
| English |
dead shape with 3 spaces |
| 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 jimari (ryo+shimari) |
| Chinese |
shuang1 fei1 shou3 jiao3 |
| English |
an opening where one (or both) sides has two corner enclosures ('shimari') |
| 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 |
poka |
| Chinese |
sui2 shou3 |
| English |
careless blunder |
| 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 |
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 |
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 |
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 |
kata |
| Chinese |
jian1 |
| English |
shoulder |
| 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 |
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 |
junkan ko |
 | While fighting the 'ko' around "A", both players mutually capture
two stones inside both groups. Under the Japanese 'ko' rule this
could continue endlessly, therefore the special 'junkan ko' rule. |
|
| Chinese |
lian2 huan2 jie2 |
| English |
a cyclic 'ko', a "no result" according to the "japanese rules of go" |
| 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 |
ishi |
| Chinese |
zi3, qi2 zi3 |
| Korean |
dol
dol-deul (stones) |
| English |
stone |
| Japanese |
insei |
| Chinese |
(wei2 qi2) yuan4 sheng1 |
| English |
student professional (of a ki-in) |
| 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 |
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 |
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 |
hanami ko |
| Korean |
ggot-nol-i pae |
| English |
a "flower-viewing" 'ko', i.e. one side has everything to lose,
while the other stakes almost nothing |
| 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 |
gomoku nakade |
 | The black group is dead when white plays "A" |
|
| Chinese |
hua2 wu3, dao1 ban3 wu3 |
| English |
dead shape with 5 spaces |
| 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 |
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 |
atama ga dete iru |
| Korean |
meo-ri-reul nae-mil-da |
| Japanese |
ashibaya |
| Chinese |
zou3 de kuai4 |
| English |
quick movement |
| 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 |
amari gatachi |
| English |
play where one feels he has made good moves,
when in fact he has accomplished little |
| Japanese |
tsuke giri |
| Chinese |
peng4 duan4 |
| English |
to attach and cut |
| Japanese |
giri
kiri |
| Chinese |
duan4 |
| English |
cut |
| Japanese |
nigiri |
| Chinese |
chai1 xian1 |
| English |
draw the colors of the players before the game |
| |
