Go - Go
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It is an indoor game in which two players, one with black stones and the other with white stones, take turns placing them on the board, competing over the size of the territory they enclose. There are also versions of Go, such as Consultation Go, in which one or more players decide together, Ren Go, in which players split into groups and play without consulting each other, and Pair Go, in which two pairs of men and women form and the four of them take turns playing. It is enjoyed by a wide range of people, from those under 7 or 8 to those over 80, and the skill required to play it is deep, making it one of the most strategic indoor games in the world. Igo, chess, chessboard, chessboard, chessboard, chessboard, and chessboard are all words that directly refer to Go. Indirect alternative names include "Houen" referring to the square shape of the board and the circular shape of the stones, "Black and White" and "Uro" referring to black and white, "Shudan" meaning to communicate with foreigners through Go, "Axe Handle" and "Ranka" from the anecdote that a hermit's axe handle rotted while watching Go, and even "The Pleasure of Being in the Tangerine," "Forgetting My Worries," and "Sitting in Reclusion." [Keij Kobori] historyoriginIn China, it is said that Go has been around for 4,000 years. There are legends that it was created by Emperor Yao or Emperor Shun for the education of their sons, or that it was created by Wucao, a minister of King Jie of the Xia Dynasty, but all of these are merely theories based on later references to saints and great men. There are several hypotheses about where and when Go first originated, but the most likely theory is that the original form of Go was created in the advanced regions of ancient China around 3,000 years ago. Go is deeply related to I Ching (the Book of Changes), and both originate from the Yin-Yang philosophy. Just as I Ching played a public role in determining the direction of government and rituals, the original form of Go is thought to have had a public function. The Go board may have been a military tool or other official tool. In the Yishi (Ekishi) by Renban Gu of the Later Han Dynasty, there is a passage that says, "It is the people who play Go, and it is indeed the kingship," which hints at the nature of primitive Go. However, with the development of weapons and military strategies, the official function of the Go board was lost. In turn, this was the beginning of Go as a game, and unique rules were added to the game. It is clear from the records of the Records of the Grand Historian, the Zuo Zhuan (Chunqiu: The Book of Changes in the Spring and Autumn Period), the Analects, and the Mencius that Go was established as a game during the Spring and Autumn Period and the Warring States Period. In China, Go later developed mainly among the aristocracy, and was called "Qin, Chess, Painting, and Calligraphy" and gained a status on a par with other arts. Since stone boards with 17 lines have been excavated from tombs from the Han dynasty, it can be assumed that Go was originally played on a 17-line board. The 19-line board was established in the early Tang dynasty. Furthermore, Chinese Go has traditionally adopted the even-handed stone placement system, in which each player places two stones on diagonal stars before playing. As a result, the opening game lacked depth and breadth, but techniques for the middle game and beyond have been thoroughly studied, and Chinese Go has produced many masterful players. Go books such as the "Xuanxuan Gojing" from the Yuan dynasty and the "Guanzifu" from the Qing dynasty had a major influence across the ocean, even in Japan. In the early 20th century, China adopted the even-handed free-play system from Japan, which removed the placement of stones, and has now surpassed Japan, the leading country in Go, in both quality and quantity. [Keij Kobori] Arrival in Japan and the Imperial Dynasty PeriodIt is believed that Go was introduced to Japan via the Korean Peninsula in the 5th or 6th century. There is a description of Go in the "Samguk Sagi" (History of the Three Kingdoms). The first document on Go in Japan is the "Suisho" (Book of Sui), which states in the section on the Eastern Barbarians and Wa (Toiden Wakoku) that the Wa people in the early 7th century "liked the games of Qibo, Asaku, and Chobo." The Japanese love of Go, Sugoroku, and gambling has been a tradition since before the Nara period. Gogohama, which appears in the "Fudoki," is a place where natural Go stones are collected, and Goshi, as described in the "Manyoshu," probably means someone who excels at Go. The board favored by Emperor Shomu, which is preserved in the Shosoin Repository, has one side in Korean style and the other in Japanese style. The spirit of the Koto, Go, calligraphy and painting was brought to Japan at an early stage. For example, the Taiho Code's Monk and Nuns' Code states, "In general, monks and nuns who take up music or gambling will have to work 100 days' hard labor. There are no restrictions on Go or Koto," clearly showing that Go was favored. In the Heian period, go became popular in the imperial court, and there are numerous descriptions of games as events in the "Rikkokushi." The gift of "gotesen" was also used as a general term for celebratory gifts. Go players were educated monks and court ladies. Kanren Hoshi (874-?) was the first expert go player to appear in the history of Japanese go. He is said to have played against Emperor Daigo, and created and presented a book on go theory, "Go Shiki." Go was also considered an essential part of the education of court ladies, and its popularity at the time can be seen in "The Pillow Book" and "The Tale of Genji." However, go during this period was merely a leisurely pastime for the aristocracy, and there is little evidence that it was played among the general public. During the Kamakura and Muromachi periods, the warrior class inherited the pure game of Go. Monks continued to be the leaders of Go, such as the monk Genson, who wrote the "Igoshiki," and the monk Kyochu, who traveled to the Ming Dynasty and left behind a record of Go in the Go book "Tekijoroku." [Keij Kobori] Early modern periodOne event that dramatically elevated the Japanese game of Go and made it more profound was the change from the mutual first-placed stone system to a free move system. Players were free to choose their landing points from the first move. This marked the beginning of the world of opening moves and joseki (standard moves), and Go changed completely from its previous appearance. This change is believed to have taken place during the Azuchi-Momoyama period or around the time of the founding of the Edo Shogunate. It may have also been the work of Nichikai (1558-1623, the first Honinbo Sansa), who in the history of Go is comparable to Sen no Rikyu (tea master) and Zeami (Noh master). Honinbo is the name of a sub-temple within Jakkoji Temple in Kyoto, and Sansha served Oda Nobunaga, Toyotomi Hideyoshi, and Tokugawa Ieyasu, and was praised as a "master" for his outstanding skills. The Edo Shogunate established "Gosho" (places where players play Go) under the jurisdiction of the Magistrate of Temples and Shrines, and Sansha was the first Gosho. Go players solidified their status as experts under the protection of the Shogunate and received personal stipends, but the stipends later became hereditary. After Sansha's death, the iemoto system was established, and four schools, Honinbo, Inoue, Yasui, and Hayashi, were born as "Kanshikiin" (official shogunate-approved schools). The Honinbo family always held the top position among the three schools of shogi (the Ohashi main family, the Ohashi branch family, and the Ito family), and produced many great masters, including the 4th Dosaku (1645-1702), who was hailed as the Go Saint, the 12th Jowa (1787-1847), the 14th Shuwa (1820-1873), and Shusaku (1829-1862), who was known as the Ki Saint. A master (9th dan) is appointed to the Gosho. The rank system was established by Honinbo Dosaku during the Genroku period (1688-1704), and the division from 9th dan (master) to 1st dan continues to this day. The Gosho is associated with honor and privilege, and the four families repeatedly fought over this highest position, sometimes by skill and sometimes by political maneuvering. A dispute over official orders to play Go for the Gosho is called Sogo. The system of "Oshirogō" (castle Go) was also established during Dosaku's time. Once a year, on November 17th, a match is held in front of the Shogun at Edo Castle under the jurisdiction of the Magistrate of Temples and Shrines. Officially, players with a rank of 7th dan or higher prepare their pieces in advance and display them in front of the Shogun. During the match, players were prohibited from traveling with the outside world, which gave rise to the saying that Go players cannot see their parents die. More than 500 games of Go were played during the Edo period. Go flourished from the Bunka, Bunsei, and Tenpo eras (1804-1844) through the end of the Edo period. While masters and skilled players emerged, the game also spread among merchants and ordinary people. Not only samurai but also wealthy merchants and farmers held go meetings and became patrons of go players. Gambling go among amateurs had been popular since the mid-Edo period. Go came to be played widely, regardless of social class, but on the other hand, it cannot be denied that the spirit of go as a refined and pure pastime gradually faded. [Keij Kobori] Modern and contemporaryWith the Meiji Restoration, the heads of Go schools lost their stipends, and with the exception of the Honinbo family, they lost their chances of being Go schools. The early Meiji period was a time of decline for Go. In 1879 (Meiji 12), Murase Shuho founded a modern Go society called the Hoensha to compete with the Honinbo school of Shuei (1852-1907). The Hoensha's main activities included holding regular matches, publishing a journal, teaching amateurs, and issuing its own unique certificates that were different from those issued by the traditional heads of Go schools. This modern approach was later inherited by the Nihon Ki-in and the Kansai Ki-in. The Hoensha overwhelmed the Honinbo family for a time, but the Buddhist priests regained their influence, and the era of both the Buddhist priests and the Buddhist priests coexisting continued throughout the Meiji period. In the Taisho era, there was a movement to unite the go world, and after many twists and turns, including the Great Kanto Earthquake of 1923, the Nihon Ki-in was founded with the support of Baron Okura Kishichirou (1882-1963). Shortly after its founding, the Kiseisha became independent, and in 1950 the Kansai Ki-in became independent, but this did not lead to the division and decline of the go world, and the Nihon Ki-in remains the center of the go world to this day. In 1933 (Showa 8), Kitani Minoru and Go Seigen tried out a "new strategy" in actual games, countering the old strategy with one that focused on power and speed. After this reform, modern Go entered an era of "comprehensive strategy" that combined the advantages of both the old and new strategies. The last hereditary Honinbo, Shusai (1874-1940), retired and handed over the title of Honinbo to the Mainichi Newspaper Company. In 1939, the Honinbo tournament began, and the professional Go world entered an era of championship matches. After World War II, the number of newspaper and television tournaments increased, providing a basis for the activities of professional Go players. Players who defined an era include Go Juban Go player Go Seigen, Kansai Ki-in president Hashimoto Utaro (1907-1994), Takakawa Kaku who won the Honinbo title nine times in a row, Sakata Eio who won the seven titles 64 times, and Fujisawa Hideyuki (1925-2009) who won the Kisei title six times in a row. Other great players who dominated their era include Hayashi Kaiho (1942-), Cho Chikun, and Kobayashi Koichi (1952-). The number of amateur Go players has also increased dramatically since 1965, with "10 million Go fans" becoming a catchphrase. Go has been incorporated into club activities for junior and senior high school students, and it has already become established as an indoor game for young people. Amateur matches and tournaments are also active, and Go is now entering a period of true prosperity. [Keij Kobori] The Age of GlobalizationWith the start of the World Amateur Championship in 1979 and the Japan-China Super Go in 1985, Go essentially entered an era of internationalization. The Korean Go Association was founded in 1955 and the Chinese Go Association in 1956, but from the late 1980s to the 1990s, the skills of both countries were on track to catch up with and surpass Japan. Superstars who emerged during this period include Nie Weiping (1952- ), Ma Xiaochun (1964- ), and Chang Hao (1976- ) (all from China), Cho Hunhyun (1953- ), and Lee Changho (1975- ) (all from Korea). In particular, Go is a huge hit in South Korea, where an estimated 9 million people (just under 20% of the total population) play the game. There are also 1,500 Go schools for children, which is comparable to the number of cram schools. However, the economic crisis has led to a sharp decline in professional Go tournaments, and the situation is in flux. Besides Japan, South Korea, and China, there are professional Go organizations in Taiwan, and the United States launched a professional Go player system in 2011. The number of Go fans in Europe and the United States is also steadily increasing, and it may not be long before Go replaces chess as the most international board game. [Keij Kobori] ToolsA set consists of a go board, go stones (white and black), and a go bowl (a container for the go stones, one black and one white). [Keij Kobori] Go boardMaterials used for making go boards include kaya, ginkgo, cypress, and katsura, with kaya being the best and katsura being the most widely available for the general public. Kaya from Miyazaki is considered to be of the highest quality, and boards with straight grain are particularly popular and expensive rather than planar grain. Generally, the quality of a board is judged by its elasticity when playing, the beauty of its color and grain, its fragrance, and whether it can withstand years of use without discoloring. The dimensions of the board are 1 shaku 5 sun (45.45 cm) long and 1 shaku 4 sun (42.42 cm) wide, making it somewhat long, and in actual games, players sit vertically. The 19 lines and stars are lacquered, and the board has four legs. There is a depression on the underside of the board called the "navel." Legless wooden boards for chair seating are also widely used, and as Go has become more popular, plastic boards and magnetic boards have also come into use. [Board configuration] As shown in , a go board is made up of 19 parallel lines, with 361 (19 x 19) intersections. 13-by-13 and 9-by-9 boards are also made for beginners and novices. Each intersection is called a "me" and stones are placed on the "me". Stones are not placed within the squares as in shogi. The nine sunspots are called "stars," and the central star is specially named "Tengen." If the area is divided into four "corners," four "sides," and one center, it is as shown in However, these names are used when viewed from below, so from the opposing player's perspective, the upper right corner, for example, becomes the lower left corner. The Western and Chinese numerals on the upper and left sides indicate the coordinates of the stars, and the star in the upper right corner is "16-shi" (read as 16 no shi). However, this number is a notational convenience and is not found on ordinary go boards. [Keij Kobori] Go stonesGo stones are made from a variety of materials, but the high-quality black stones are made from a type of slate called Nachi-kuro. The best white stones are made from clams from Hyuga, but in recent years they have become scarce, and Mexican clams have become more commonly used. Common stones include glass stones, which can also be made from giant clams, plastic, obsidian, or marble. There are 181 black stones and 180 white stones, and when they are all lined up, the board is completely filled. The white stones look larger than the black stones of the same size, so they are made slightly smaller than the black stones. The number of stones is usually counted by "child", and 7 stones are called 7 children. [Keij Kobori] Go bowlGo boards are made from mulberry, cherry, chestnut, etc. Mulberry from the Izu Seven Islands is a high-quality product, but many plastic boards are also made for more common use. [Keij Kobori] Rules and TechniquesAlternate movesPlacing a stone on a square is called "playing" or "making a move." Players are free to play on any square on the board, but once a stone has been played it cannot be moved to another spot, and players cannot play by stacking stones on top of each other. Moves must be made alternately between black and white, and are called alternating moves. Playing two consecutive times is a violation. Also, temporarily abandoning a move (passing) is not permitted. [Keij Kobori] Way forwardThe adjacent squares on the front, back, left and right sides of a stone are called its open spaces. In (1), the black stone in (I) has an open space at point a, the black stone at the end of a side in (II) has an open space at point a, and the black stone at the end of a corner in (III) has an open space at point a, but none of the diagonal spaces at point b are open spaces. A stone that has lost all its paths of survival dies. In (I) of (2), this is called a four-pronged kill, in which White has taken away all of the black stone's paths of survival. In all three cases (I), (II), and (III), White takes the black stone and places it in the lid of the Go bowl as an "agehama" (a stone that is used to fill the black area after the game is over). Stones that have lost all their paths of survival must not be left on the board. In (I) of (3), a group of two black stones is lined up, and the six paths to victory are at a. In (II), white has five paths to victory, and can take them if he plays a next, but black can escape by playing at a. This state, surrounded by the opponent's stones and one move away from being taken, is called atari. If white plays a, two black stones will be taken, and the situation will change to (III). [Keij Kobori] Prohibitions and exceptionsYou cannot make a move on a point where there is no way out. In both (I) and (II) of (1), the moment Black 1 makes a move, the way out is already blocked by the White stones, so it is a prohibited point. Black 1 in (III) cannot make a move either, because both of the two stones' ways out are blocked. (I) in (2) is also a prohibited move point. However, White 1 in (II) is connected to an ally's stone (see the section on connections and disconnections), so it is not prohibited from moving. If we consider the five White stones as a group, the eight spots at a are paths to victory. However, if all eight paths are occupied by black stones as in (III), White 1 is prohibited from moving. In (3) (I), Black 1 is prohibited from making a move, but if the White stones are surrounded by Black as in (II), playing 1 will also deny White an opportunity to attack. In this way, when it is possible to take the opponent's stones, the prohibition on making a move does not apply. Black takes the White 8th stone, creating the shape of (III). In (4), (I), point a is not a prohibited point because either player can take the other player's stones. If Black plays at a first, the two White stones will become Agehama, resulting in (II), but if White can play at a first, the situation will change to (III). [Keij Kobori] Life and DeathAn alive path is a condition for a stone to exist on the board, but another condition is necessary for a stone to be clearly alive. In (I) of (1), the black corner stone has two alive paths at a. However, if it is surrounded by White as in the diagram, White can always play the vacant points at a and b to seize the black stones. In (II), White 1 allows five black stones to be pushed up. In (III), the black stones cannot be immediately seized. However, if White plays all of the a's and then plays at b, it can take three stones, so even though the black stones have alive paths at a and b, they are not alive. Furthermore, in both (I) and (III), the black stone is dead, so unless there is any fear that one of White's stones will be surrounded and taken by the enemy, there is no need for White to go to the trouble of taking it. In (2)(I), the black stone has two options, a and b. White cannot play a or b due to the move prohibition. White can take the black stone by playing a and b at the same time, but this violates the rule of alternating moves. The situation is similar in (II). Even if White makes a move at a and b, there are two prohibited moves at c and d, so the black stones are live and cannot be taken forever (the stones at a and b are called "no good"). The a and b in (I) and the c and d in (II) are called "eyes" as units that determine the life of a stone. A stone with two or more independent eyes is a living stone. In (3), (I) has two paths, a and b, and two eyes, but there is only one eye as a living unit. This is because (II) when White plays 1, Black takes 2 to prevent it from being taken, but in the end it becomes (III) and the black stone is taken (dead). The two eyes must be independent. In (4) (I), point a can be taken by White a, so it is not a prohibited point. If Black plays a, then b is no longer a prohibited point, and the black stone is dead. a in (II) cannot be considered an eye, just like a in (I). If White plays b, three stones become an atari, and if Black plays a, the whole becomes one eye. White does not need to play b or c, and black is dead as it is. a in (I) and (II) is called a "missing eye." Missing eyes are useless for survival. Dead black (white) stones are eventually removed and used to fill in other black (white) territory. Furthermore, the removed part becomes white (black) territory. Therefore, even if it is a local stone, the life or death of a stone is deeply related to the outcome of a game of Go. One of the basic tactics is to threaten the life of the opponent's stones while strengthening the power of your own stones and trying to gain more territory. There are exceptional situations where you can remain alive even without an eye. In (I) of (5), the 3rd white piece and the 4th black piece face each other with two dead pieces a and b in between. In (II), if Black plays 1, White will take 2, and conversely, if White plays first, it will also be taken. In (I) and (II) of (6), both pieces have one eye, and neither can play at a. This is because whoever plays will be taken. This situation is called "seki," and the game will end like this unless either player makes a move. [Keij Kobori] Contact and DisconnectionIn order for stones to function as a group of two or more, they must be connected to each other. It is common for stones to live because they are connected and die because they are cut off. (1). Stones can only communicate through paths. The black stone in (I) has a path at a. This path becomes a limb for communication, and if the path is cut off by the opponent, it is cut off. The two stones in (II) and (III) are connected to each other because they are occupying each other's paths. The diagonally arranged shape called a cosmi in (I) of (2) is not connected as it is, because it is not on the path of an ally. (II) However, if black plays either a or b, all will be connected, so it can be considered a connection as long as white does not play both a and b. (III) If white plays 1, black plays 2 to connect, and conversely if white plays 2, black plays 1 to connect. In (3), (I) connected with Black 1 and cut off the two White stones. (II) connected with White 1 and cut off the two Black stones. (III) is not connected even if Black plays 1. The first connection is made with Black a, so if White plays a, it will be cut off. In (4), (I) and (II) are both connected by Black 1. In (5), (I) is cut by Black 1. The white stones on the left and right have only one eye, and are all dead. (II) If connected with White 1, the left and right shake hands, and they become alive with two eyes. In (6), (I) is connected by playing Black 1, and all black stones are alive with two eyes. (II) If White 1 is cut, the black stones in the corners have only one eye, and are dead. The four black stones in the center are connected because if White a, it is Black b, and if White b, it is Black a. This shape is called Takefu (bamboo joint), and cannot be cut unless two consecutive plays (White a, White b) are made. Even if the stone is cut once, if you can capture the cut stone, the connection will be restored. In (I) of (7), White 1 cuts it once, but (II) if Black 2 continues, the White stone will be captured (White a is Black b). If you can capture this White stone, the connection will be restored. [Keij Kobori] EarthA set of points surrounded by unbroken, consecutive stones is called a "territory" and its amount is counted in "points." The territory of a living stone with the fewest number of points, two points, is two points. The winner is decided by the total sum of the territories of both the black and white stones in each part of the board. The black territory of (I) in (1) is 14 points, and the territory of the living stones in (II) is 3 points. The two white stones in (I) in (2) have been taken (dead). Ultimately, these two stones are taken as Agehama and buried in the white territory, so the black territory here is 12 points + 2 points = 14 points in size. Similarly, the white stone in (II) is dead. We can see that the black territory here is 18 points. A territory that has been invaded from the outside or disturbed to the inside cannot be called a complete territory. In (3), (I), the exit for a is open, and if White plays a, the black territory will collapse significantly, so it will only become complete if Black plays a in preparation. (II) is a shape that roughly surrounds a corner. However, if White plays 1 and it is played inside the black territory, the black territory will be greatly reduced. The successive stones surrounding the land must themselves be living stones, ready to thwart incursions and kill any stones that are driven into it, and only then can it be counted as complete land. [Keij Kobori] Kou(1), taking Black 1 is called a Ko. If you then take White 2 back (2), and then take Black 3 again (3), there is no limit to this. To avoid this repetition of the same move, the rules state that if your opponent takes a Ko, you cannot take it back right away. You must either give up the Ko or play at least one other move before taking it back. In (4), White cannot immediately take back Black 1. If he wants to continue the ko, he can play, for example, White 2. This means that White a and the black stones will be killed next. This move is called "ko-date" and the locations of White 2 and a, which are the materials for ko-date, are called "ko-zai". (5), Black is forced to make a choice. If he plays Black a to eliminate the ko, White b will kill the black group, but if Black b survives, White will take back a and the "ko-fight" will continue. Ko often appears in the life and death of stones. The white stone in (I) of (6) is alive, but (II) will remain a ko if it remains as it is. If it is White a, it is alive, and if it is Black a, it is a ko. If it becomes a ko, the number of ko pieces determines whether it is alive or dead. Therefore, if you are going to start a ko dispute, it is best to first compare the number of ko pieces on both sides. [Keij Kobori] Stone removal techniqueHere we will list basic ways to take stones other than the so-called four-eye kill technique. (1). The technique of placing a stone on the opponent's eye's vital point and taking away the eye shape is called a "nakade". (I) is a 3-eye nakade, (II) is a 4-eye nakade, and (III) is a 5-eye nakade. In all cases, black's 1 leaves white with only one eye, and he is dead. Conversely, white can survive by playing on point 1. The nakade is the basis of life and death, and there are many other nakade moves. (2). Black 1 in (I) is a "geta" (clog). This takes White 1. (II) White cannot escape with 1 and 3. (I) in (3) If White 1 and 3 approach from the outside, Black 2 and 4 can take it. (II) If left unattended, White 1 can connect to the outside. (4). (I) The shape of Black 1 and Ate is called "Shicho". (II) If White escapes, pursue him in a zigzag pattern, Ate, Ate. Do not make a mistake in the direction of your Ate. Finally, pursue to the edge of the board and take the whole piece. (5). (I) If there are enemy reinforcements ahead, chasing to Black 7 will result in a failure for Black, as White 8 will contact the reinforcements. (II) Slips through White's reinforcements and succeeds in capturing a piece. Chasing a piece that cannot be captured or escaping a piece that has been captured will result in great losses. For this reason, it is commonly said that "Don't play Go without knowing the pieces." (6). (I) Black 1 is an Atari, but in the technical term it is called "Kakae" (holding). Even if White escapes with 2, Black 3 takes the White piece with 1. (II) Attacking with 1 from the opposite direction would be a failure, because White would escape with 2. (7). (I) It is a good move to play Black 1. If you attack a with this move, it will be connected with White 1 and cannot be taken. (II) If you take a black stone with White 2, then Black can play at the captured Black spot and take back the 3rd White stone. This technique is called "Utte-Kaeshi". (8). (I) If Black plays 1, it is an Atari. However, White cannot play a. If White plays a, Black b will take a large piece. Therefore, Black 1 has taken 3 stones. (II) Black 1 is an Atari. Even if White blocks the Atari with a, Black b will take the whole piece. Therefore, Black 1 has taken 5 White stones. [Keij Kobori] Competition MethodEven and OkigoWhen the players' skill level is almost the same, they play with "Tagaisen" and alternate between the first (first and black) first (first and black) first. Those with black will play first place, and then they will start alternately. In Go, the first place is advantageous, so to be fair, black will usually produce a "comi" with a 6 and a half rating against white. If the game is finished and the 8th rating is good, they will subtract the 1st and a half rating, and if the board is "Jigo" (black and white are the same), white will win 6 and a half rating. If the skill level is equal, then the 6th and a half rating will be close to five. If there is a difference in strength, the "Josen" (always the first number) or the lower ranker (fair) with no commuter positions will place the stones in advance to create a handicap. "Okigo" is usually from two to nine substation stations, but in some cases, more than nine children may be placed. The stones up to 9 substation stations are always placed on the stars. Black 1 to 9 substation stations are the correct order of placement of 9 substation stations (Seimoku Go), and if they are above the star, there are "Furin" with a added a and "Nakashimoku" with b added. The star is also written as Ime or Seimei. The stones for 8 or fewer children and the order of placement are [Kobori Keiji] One game's goFirst, decide whether to place one another, a fixed-handed person, or a child, and for GoBoard, place the lid (lid) on the front of the board, and the lid of the GoBoard on the right side of the board so that the opponent can see at a glance the number of swallowtails. When determining black balls with one side, the official method is to use one side to make a stone appropriately "nigiri" and the other half to make a half to say. In Go, the first one starts playing with "good" (white), but for both sides, black balls with the first one, and when the first one is usually chosen, the upper right corner is chosen. The upper right corner is the lower left corner that is the least likely for the opponent to play. Go in one game can usually be divided into three stages: early, mid and final, and from the content, the beginning is equivalent to "putting stones" in preparation for the middle, the middle is a "battle" over the ground and stones, and the end is generally the end of the battle, and "yose" to confirm the ground. Now, let's take a look at a scene from the high-ranking Go, where the ground is settled, battle, and Yose. (1). Numbers show the dozen moves from the first move (first move). The first move is the first move, and the other side is the white one. As can be seen in this example, the general principle of starting the move is the order of corner → side → center. It is said that it is more efficient to start playing from the corner where the ground and the ground are most likely to be obtained. (2). (I) The corner points in the corners are "stars", b "sansan", c is "komoku", d is "undressed", and e is "Takakari", and approximately these eight points are "Takakari". (II) For example, the one that uses a small move to tighten up is called "shimari", and (III) The white 1 that prevents the ground is "kakari". There are not only these but many types of grounds and kakari are. Returning to (1), black 5 is the rim and black 7 is the rim. Partial negotiations are often seen in the rim to the corner, and white 8 and 16 are called "Joseki." Standard stones are typical variations that are divided on almost equal terms from the reasonable stone transport in the corner, and there are many. Standard stones are researched and developed depending on the era. (3). The process progresses, and Go is beginning to the middle of the game. The ground is more black in the whole area. However, the group in the upper left corner is weak, and the white is trying to find combat aircraft by using 2 or less "attack". The weak stone means that they have little eye shape and are struggling to make it live. The main station plays a mid-game battle over white attacks and black "Shinogi". (4). It is in the final stages of Yos. The boundary line of the land is generally clear, and although there is some battle, it is a process of solidifying the land against each other. They try to reduce the opponent's land and increase the number of allies. Yos is divided into the period when the "Great Yos" is taken, and the period when the "Great Yos" is taken, and the period when the "Great Yos" is taken, but the areas from white 1 to black 10 in the figure correspond to the "Great Yos". [Kobori Keiji] How to make the end and goYou can also avoid playing Go until the end and give up on the battle midway. If the player who admits a loss "resigns", the winner will be "chuoshigagachi". Declaring a "taiseki" that is irreversible, or when it is impossible to make up for a quasi-go, even if the shore is approaching, there is no confusion and recovery. If you play until the end and end, you count the "terrestrial" (land). The more lands, the more lands win, and the more lands wins, the winner is a third black spot and the first white spot is decided. If the lands are the same, it's a jigo (jigo) and the match is a draw, but it's impossible for Komigo to have a half-eyed goal, such as six and a half. Let's count the lands using the 13-way board as a clue. The following procedure is a "making Go" procedure, which is the final stage of Go in one game. (1). Go has ended, and there is nowhere left to begin to benefit both sides. Once the final stages are confirmed, the work begins. [1] First, do the necessary "care" in your own land. Black is maintained in three locations: a, b, and c. White is maintained in two locations: d and e. Even if these points are not currently needed, they will always be necessary in the end. [2] Fill in the boundary damage that is not related to each other's land. You can mix and match the care and damage. (2) is an example, and the procedure is not related to the match until the final black 19. All other than 1, 3, 5, 6, and 8 are all bad moves. Care must be taken to prevent the original ground from disappearing during this operation. For example, black 11 is required for white 10. If you don't hit it, the black background in a white 11 will collapse with white 11. If you hit it at white 15, it is black 17, so this is no good. You can finish playing all the damages with black 19. [3] Next, we will take up the stones of the opponent that we have imported. Black will take up two white children on the top side and two white children on the bottom right, and white will take up five black children (death stone) on the bottom left. In this example, black already has three swallowtails and two white children, with seven swallowtails on each side. The result is (3). [4] Finally, level the ground so that it is easy to count. At this time, be careful not to increase or decrease the ground. The completed diagram is (4). The black background is 10th on the top side and 12th on the bottom side, totaling 22nd on the white background. The white background is 18th on the bottom left. The black version has been subtracted and a 4th win. If you have a 6th and a half como, then the white version will win 2 and a half. [Kobori Keiji] China RulesThe Chinese rules currently being held in China are hardly different from the Japanese rules in terms of the outcome of the competition. However, there may be some differences, and the Chinese rules are attracting attention as they resolve the rules flaws that Japanese rules naturally face. Under the Chinese rules, you fight over the slightest amount of surviving stones. The land ultimately has meaning by burying your own stones inside them. Damage is also meaningful in terms of the survival of the stones, and the end is when you finish all the damages. Therefore, if Black closes the final damage and finishes, the first difference will be made compared to the Japanese rules. Also, since it is pointless to fill the opponent's land with Swallowtail, you do not need to keep Swallowtail or calculate. If you take up the stones, you can return them to your opponent's Go Board. In addition, in special cases, there may be some difference from the Japanese rules. [Kobori Keiji] Major title fightsOfficial matches played by professional shogi players vary depending on the title. In title matches, the number of games, the time they hold, and the starting time they start reading. In title matches, the challenger to the title holder is determined by a league or tournament match, and the winner and loser is often decided by the seventh or fifth place match. Among the main title matches, Kisei, Master, Honinbo, King, Tengen, Gosei, and Jandan are called the seven major titles, and all players, regardless of gender, are eligible to participate. Holding the seven major titles at the same time is called the seven crowns. This is the first time that Iyama Yuta (1989-) won the seven titles in 2016 (the second time in 2017). Winning the seven major titles in a lifetime is called the Grand Slam, and Zhao Ji-hun achieved this in 1987, Zhang Ying (1980-) in 2010, and Iyama Yuta in 2013. Also, the holding of Kisei, Master and Honinbo at the same time is called the Triple Crown, and the winners are Zhao Ji-hun (1983, 1996) and Iyama Yuta (2013, 2017, 2020). By winning five consecutive terms or 10 terms for these titles, they can be called honorary titles such as Honorary Kisei after retirement (or after the age of 60). Only Honinbo, who was originally the head of Go, is not honorary Honinbo, but is called "○○sei Honinbo" by algebra. After the name Honinbo was transferred to the Nippon Ki-in in 1936 and became a title match, by 2020, five people attacked Honinbo: Takakawa Kaku (22nd Seishu), Sakata Eizo (23rd Seishu), Ishida Yoshio (24th Seishu, 1948-), Zhao Ji-han (25th Seishu, 10th consecutive victory in the match, and other great achievements such as winning the match against Honinbo 10th consecutive victory, he was recognized as honorary title since 1998 before he was 60 years old), and Iyama Yuta (26th Seishu, and honorary title after winning the match against Honinbo in a row). In official competitions for professional female shogi players, the three major titles are female Honinbo, female master, and female Kisei, and all female shogi players are eligible to participate. In 2010, Xie Iimin (1989-) won the women's triple crown for the first time. There are also professional shogi associations not only in Japan but also in China and South Korea, and as the number of professional shogi players from Europe and the United States is increasing, the number of enthusiasts spreads all over the world, so many international matches such as international exchange games and international team matches have been held.
Meijin Tournament Honinbo Tournament Championship Tengen Battle Go Seishun Tendan Battle Women's Honinbo Battle Women's Masters Women's Kisei Tournament [Editorial Department] Main Go Terminology●Bite Next, the opponent's stone can be retrieved. ●Thick eye shape is free of concern and has strong power. Thick shape. ●Iken (Iken) It is mainly used to hit the ball away from your own stone. (I) in (1) is a one-size shimari, and (II) is a one-size katabi. ●Issen A line at the end of the panel. From the first line to the top, two lines, three lines, etc., and usually the term is about a staff. The small corners correspond to the intersection of the three lines and four lines. ●The opposite of thin "thick". It is attacked with poor eye shape. It also allows the opponent to push himself in. ●The black 1 is the slashing (2), and the black 1 is the slashing method. This method is used to steal the opponent's eye or to tighten the number of stones. ●Uchikomi: A method of entering the opponent's land or sphere of influence alone. Hitting often becomes the main character in midfield games. ●Oba: A major key point in the beginning. It mainly refers to the development of the story. ●Osae: A method to close and stop the opponent's advance. (3), black 1. It holds down white advance. ●Oshitsubushi A type in which stones can live. (4) and black 1 are examples. White a is a point that is prohibited without a course of action, so it cannot be played. Therefore, black is played with a two-eye eye, and it is live. ●Fragment One of the means to pressure it from above. (5), the fragment in black 1 is oppressing Shiraishi. ●Kaketsugi The cutoff point is shifted by one path and is thrust-shaped. (6), the cutoff point in black 1 protects the cutoff point in a. ●Snail A type of thrush that is a breakpoint. The breakpoint is directly thrushed, as shown in (7) and Black 1. ●Kikashi A hand that can be hit with the first move and is somehow positive. If you are holding a Kikashi that can be hit at any time, it is said that there are Kiki and Kiki streaks there. (8), black 1 must be given as white 2, so black 1 is Kikashi. However, in some cases, you may be able to approach a instead of 1, and if you hold 1, you will see Kiki in 1 and a. ●Crucial points: This is the key point where the shape will be properly adjusted when you hit it, and if the opponent hits it, it will lose its shape. ● Cutting the breakpoint. (9), black 1 is a sharp point, and it forms the front and back of the thrush. ●Dynamic decision: Determine the superiority or inferiority in a phase. It is possible to judge the situation from the beginning to the end, and depending on the situation, the criteria for starting the game are divided, whether to refrain from playing or hit hard. ●Keima [Keima] Like a shogi Keima, it is a one-way shift from the Tobi. (10), black 1. ●Erase: A method to shallowly invade your opponent's sphere of influence. (11), black 1 shallowly erase the white sphere of influence. If 1 and a is a, it is a driving. ●Cosumi: A shape that hits the stone diagonally from your own stone. (12) and black 1 is Cosumi. If a has white stone, 1 is Cosumi. ●The Iron is a start that the opponent won't take. Every start in Go is either a second move or a "first move" depending on the shape of the part. Also, in Go, both the first move and the first move, with black being called the first move and white being called the second move. ●Sagari: Shape that is sniffing towards the end of the board. (13) in black 1 is skari. ●Sabaki: Efficiently transfer stones that can be attacked into shapes that cannot be attacked. There are sabaki and "Shinogi" in response to the opponent's attack. ●Sparrows A way to reduce the land of your opponent. (14) in Black 1 is Black 1. 1 is also called "large monkey" and Black a is also called "small monkey." ●The shape is lined up with three stars on one side, like the right side of the triple star (15). The most promising shape, and the shape in which the two are off-road, is called "Chinese style." ●Practical profit: The substantial land at hand. A term that opposes "forces" that have the potential to be unknown. ●Shinogi The attacking stone will be resolved. Shinogi is required for more severe attacks than in the case of Sabaki. ●Duplicate stones are in a state of intractable function and inefficient function. Also known as "tight form." ●The black stone in the fourth corner (sumi no shaggy) (16) is the black stone in the corner. If you put it in black and a and you'll die in the middle (inside), but from white, you hit a and black b, and you'll get a sloppy one way down the road, and it's a sloppy. Although black cannot be used to, white is in an advantageous position to go to kou at any time, so the rules stipulate that this black stone is dead. ●Seiryoku A group of stones with no practical advantage, but with a strong thickness. For example, (17) is one of the basic standard points, but white is a powerful advantage and black is a powerful influence. ●Attacking: The state of whether both stones are taken or not. In (18), if you first come, Black 1 will win the attack between the three children by Black 1, Black will win one move. ●Sentee: When you hit the ball, the opponent must take the ball. ●Rikigo (Strong Go) A type of gigaki style that shows off your strength when it comes to battles. A powerful battle style. ●A hand that compensates for breakpoints. Snails, kaketsu, etc. ●A hand that bumps from your own stone into the opponent's stone. (19), Black 1. ●Take: A hand that contacts the opponent's stone alone. (I) in (20) is the black 1. (I) is "Tobitsuke." (II) is "Tobitsuke." ●Examples of this are the skewer (21) and black 1. These are techniques that are highly employed. ●Claw: A method to block the opponent's lily of a lily. (22), black 1. ●Techniques The most effective method is the function of stones. Along with the shape and critical points of the stone, this is the most appropriate way to learn Go. ●Tobi: A form of hitting the ball is jumped one or more paths from your own stone. There are two-sized twills, and other types of twills. ●Returning (returning) (23), even if two black children are taken out of white 1, the black child can be retrieved to the right of 1 with the next hand, so it is still alive. ●Niken: Two-way sailing over two routes and hitting. (I) in (24) is (I), black 1 is a two-way sailing in the corner, and (II) is a two-way sailing. ●Two-tier spring (nidan spring) (25), where black 1 is a spring, but white 2 and black 3 are two-tier springs. ●Nozoki Next, we look at the edge and get closer to the breakpoint. (26), in Figure 1, next we look at the edge of a. ●Nobi It is lined up all the way from your own stones. ●High It bites into the stones of the opponent by a lined line. For example, (27), Black 1. ●Scissors A means of pinching the opponent's stone. (28), Black 1 is called a scissors because it is a scissors that are slashed between the white stones in one halves. ●Hane A hand that stops the opponent's stone from its contact with each other. ●Hiki: Returning back to yourself. (29), black 1. ●Hiraki A hand that expands to the side to stabilize the self-stone or to expand the sphere of influence. (30), black 1. ●Frikawari The consequence of the battle is a strategy where you can get a price for yourself instead of giving your opponent a certain amount. Kou's Frikawari is an example. ●Magari (31), black 1 is Magari. If a has white stone, it becomes "Magari". ●Moyo [Pattern] A sphere of influence that could become the ground. Moyo's large stance is called a large moyo, and the Tri-Star and Chinese style can be said to be Moyo itself. ●Both bites: Two stones become bites at the same time, and one of them can be removed. (32) and black 1 are both bites. ●Thigh (Twilight) A form of communication. (33), 1 in black, and the two children in the corner are twenty. [Kobori Keiji] "Segoe Kenji, edited by Watanabe Hideo and others, "Mjor Go" (1950, Seibundo Shinkosha)" ▽ "Takagawa Tsukasa, "For those who start playing Go" (1952, Handbook Publishing)" ▽ "Andou Ryoi, Watanabe Hideo's "Zagyo-cho" (1955, Shinjusha)" ▽ "Segoe Kenji, Kitani Minoru and Sakata Eio, "Hyakuen Years of Go" (1968, Heibonsha)" ▽ "World of Ancient Go" (1977, Sanichi Shobo)" [Reference Item] | | |The game between the master and Kaoru. Following the Tang system, the emperor, who is the head, holds the Kuroishi. "The Tale of Genji Picture Scroll" "Shukuki" Copy of the National Diet Library ">> Go from the Heian period ©Shogakukan "> The structure of the Go board (how to name the board's position) [Figure A... ©Shogakukan "> Go rules and techniques (efforts) [Figure B] ©Shogakukan "> Go rules and techniques (prohibiting the process and exceptions) [Figure... ©Shogakukan "> Go rules and techniques (life and death) [Figure D] ©Shogakukan "> Go rules and techniques (contact and disconnect) [Figure E] ©Shogakukan "> Go rules and techniques (ground) [Figure F] ©Shogakukan "> Go rules and techniques (Kou) [Figure G] ©Shogakukan "> Go rules and techniques (techniques for taking stones) [Figure H... ©Shogakukan "> Go competition methods (mutually and go) [Figure I] ©Shogakukan "> How to compete in Go (One-game Go) [Figure J] ©Shogakukan "> How to compete in Go (how to make the final go) [Figure... ©Shogakukan "> Main Go Terminology (1) [Figure L] ©Shogakukan "> Main Go Terminology (2) [Figure M] Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend |
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黒石と白石を持った2人の対局者が盤上に交互に石を置き、囲った地の大小を争う室内ゲーム。一方または双方が複数で合議する相談碁、相談なしにグループに分かれて行う連碁、男女のペア2組が組み、4人で交互に打ち合うペア囲碁などもある。7、8歳以下から80歳以上までの幅広い人々が楽しんでいるが、その技術の奥は深く、世界の室内ゲームのなかでももっとも戦略的なものの一つといわれている。 囲碁、棋(き)、棊(き)、弈(えき)、弈棋(えきき)、囲棋はすべて直接に囲碁を意味することばである。間接的な異称としては、盤の方形と石の円形をさす「方円(ほうえん)」、黒と白を示す「黒白」「烏鷺(うろ)」、異国人とも碁で心を通じさせる意味の「手談(しゅだん)」、仙人の碁を見ていると斧(おの)の柄(え)が腐ったという逸話からきた「斧の柄」「爛柯(らんか)」、さらには「橘中(きっちゅう)の楽(らく)」「忘憂(ぼうゆう)」「坐隠(ざいん)」などがある。 ［小堀啓爾］ 歴史起源中国には「囲棋四千年」の呼称がある。堯(ぎょう)帝、舜(しゅん)帝が息子の教育のために創始した、あるいは夏(か)王朝桀(けつ)王の臣烏曹(うそう)がつくったとする伝説もあるが、いずれも後世からの聖人偉人付会説の域を出ない。発生地と時期についていくつかの仮説があるが、3000年ほど前、古代中国の先進地帯で碁の原形が形成されたとする説がもっとも有力である。 碁は易(えき)と深いかかわりがあり、ともに陰陽思想から発している。易が政事・祭事の方向を決定する公的な役割を担っていたのと同じように、碁の原形もまた公的な機能があったと考えられる。棊局（碁盤）は軍略その他の公的な用具だったかもしれない。後漢(ごかん)の人班固(はんこ)の『弈旨(えきし)』に「之（碁）を行うは人にあり、けだし王政なり」の一文がみえるが、原始碁のあり方を一面で暗示している。しかし武器や軍略の発達に伴い、棊局の公的な機能が失われていった。ひるがえってこれが遊戯としての碁の始まりであり、遊戯に固有のルールが付加されていく。春秋戦国時代に碁が遊戯として確立していたことは、『史記』『春秋左氏伝』『論語』『孟子(もうし)』の記載からも十分にうかがえる。 中国ではその後、貴族階級を中心に碁が発達し、「琴棋書画(きんきしょが)」といわれ、ほかの芸術と肩を並べる地位を得た。漢代の墓から17路の石盤が出土されているので、古くは十七路盤で行われていたと推測できる。十九路盤に定着したのは唐代初期である。 また中国の碁は、あらかじめ互いに対角星に2子ずつ置き合って打つ互先(たがいせん)置石制を古来から採用していた。したがって序盤の打ち方は深さと広がりに欠けていたが、中盤以降の手法は大いに研究され、多くの名人名手を輩出している。元(げん)代の『玄玄碁経(げんげんごきょう)』、清(しん)代の『官子譜(かんずふ)』などの棋書は海を越えて日本にも大きな影響を及ぼした。20世紀初頭には置石を取り外した互先自由着手制を日本から取り入れ、現在では碁の先進国日本を質的にも量的にも、追い越してきた。 ［小堀啓爾］ 日本への渡来・王朝時代日本へはおそらく5、6世紀、朝鮮半島を経由して伝わったものと推測できる。半島では『三国史記』に碁に関する記述がある。日本の碁に関する最初の文献は『隋書(ずいしょ)』で、その東夷伝倭国(とういでんわこく)の条に、7世紀初頭の倭人は「棊博、握槊(あっさく)、樗蒲(ちょぼ)の戯を好む」と書かれている。日本人の囲碁、双六(すごろく)、博打(ばくち)好きは奈良朝以前からの伝統であった。「風土記」にみえる碁子浜は自然碁石の採取場、『万葉集』にある碁師は碁に秀でた者という意味であろう。正倉院に遺(のこ)されている聖武(しょうむ)天皇愛用の盤は、一面が朝鮮風、一面が日本風である。琴棋書画の気風は早くから日本にも持ち込まれ、たとえば『大宝令(たいほうりょう)』僧尼令には「凡(およ)そ僧尼は音楽及び博戯をなさば百日苦役す。碁琴は制の限りにあらず」とあり、碁は明らかに優遇されている。 平安時代に入ると宮中で碁が盛んになり、催し物としての対局の記述が「六国史(りっこくし)」におびただしくみられる。引出物である「碁手銭(ごてせん)」は一般の祝儀用語としても用いられた。碁の担い手は知識階級である僧侶(そうりょ)と宮廷の女官であった。寛蓮法師(かんれんほうし)（874―？）は日本の囲碁史に登場する最初の名手で、醍醐(だいご)天皇の相手をつとめたと伝えられ、囲碁理論書『碁式』を制定、献上した。また女官の間でも碁が必須(ひっす)の教養とされたらしく、『枕草子(まくらのそうし)』や『源氏物語』からも当時の流行ぶりがうかがえる。しかしこの時代、碁は貴族の清戯にとどまり、一般庶民の間で打たれた形跡はほとんどない。 鎌倉・室町時代は武士階級が盤上の清戯をそっくり受け継ぐ。僧侶は変わらず碁の主導者であり、『囲碁式』を著した僧玄尊、明(みん)に渡って棋書『適情録』に弈譜(えきふ)を残した僧虚中(きょちゅう)が有名である。 ［小堀啓爾］ 近世日本の碁を飛躍的に高め、深遠なものとした事件に、互先置石制から自由着手制への変革があった。第一着手から自由に着点を選ぶ。ここから布石と定石の世界が出現し、碁はそれまでと様相を一変した。この変革が行われたのは、安土(あづち)桃山期か江戸開府のころと推定される。あるいは囲碁史上、茶の千利休(せんのりきゅう)、能の世阿弥(ぜあみ)とも対比される日海（1558―1623、初代本因坊算砂(ほんいんぼうさんさ)）自身によるものかもしれない。 本因坊は京都寂光寺内の塔頭(たっちゅう)の名前で、算砂は織田信長、豊臣(とよとみ)秀吉、徳川家康に仕え、技量抜群により「名人(めいじん)」をうたわれた。江戸幕府は寺社奉行(ぶぎょう)管轄のもとに「碁所(ごどころ)」を設け、算砂は最初の碁所となった。碁打ち衆は幕府庇護(ひご)下の専門家としての地位を固め、個人的に扶持(ふち)を受けたが、のちに扶持は世襲制に変わる。算砂没後、家元制が確立し、本因坊、井上、安井、林の4家が幕府公認の「官賜棊院(かんしきいん)」として誕生した。本因坊家は将棋方三家（大橋本家、大橋分家および伊藤家）を含め絶えず筆頭の地位にあり、碁聖とうたわれた4世道策(どうさく)（1645―1702）、12世丈和(じょうわ)（1787―1847）、14世秀和(しゅうわ)（1820―1873）、棋聖と称された秀策(しゅうさく)（1829―1862）らを輩出した。 碁所には名人（九段）が就く。段位制は元禄(げんろく)時代（1688～1704）本因坊道策によって確立され、九段（名人）から初段までの区分は現在まで続いている。碁所には名誉と利権が伴い、この最高の地位をめぐって、4家はときに実力で、ときに政治工作により抗争を繰り返した。碁所をめぐる官命の争い碁を争碁(そうご)という。「御城碁(おしろご)」の制度も道策時代に形を整えている。年に1回、11月17日、寺社奉行管轄のもとに江戸城で御前試合を行う。正式には七段（上手(じょうず)）以上の棋士があらかじめ下打ちし、将軍の御前でそれを並べて見せる。下打ちの間は外部との行き来を禁止されたので、碁打ちは親の死に目にあえないという俗言が生じた。江戸時代を通じて500局以上の御城碁が打たれた。 文化(ぶんか)・文政(ぶんせい)・天保(てんぽう)（1804～1844）から幕末にかけて、碁は繁栄期を迎えた。名手、高手が輩出する一方で、碁が商人、一般庶民の間に浸透していった。武士のみならず、豪商、豪農も碁会を催し、碁打ちのパトロンになっている。素人(しろうと)間の賭(か)け碁は江戸中期から盛んであった。碁は広く階層を問わず打たれるようになったが、反面、高雅な清遊としての気風がしだいに薄れていったことは否めない。 ［小堀啓爾］ 近代・現代明治維新で禄(ろく)を失った家元は本因坊家を除いて、棋院としての道を絶たれた。明治前期は碁の衰微時代である。1879年（明治12）、村瀬秀甫(しゅうほ)は近代的な囲碁結社「方円社(ほうえんしゃ)」を創設し、秀栄(しゅうえい)（1852―1907）の本因坊家に対抗する。方円社のおもな事業は定式手合の開催、機関誌の発行、アマチュア指導、従来の家元発行のものとは違った独自の免状発行などで、その近代的な姿勢は後の日本棋院(にほんきいん)、関西棋院にも受け継がれた。方円社は一時本因坊家を圧倒したが、坊門も勢力を盛り返し、明治期を通じて坊社並立時代が続く。 大正に入ると碁界合同の気運が生まれ、関東大震災（1923）を挟んで幾多の紆余(うよ)曲折ののち、男爵大倉喜七郎(おおくらきしちろう)（1882―1963）のきもいりで「日本棋院」が誕生する。創立直後「棋正社」が、1950年（昭和25）には「関西棋院」が独立するが、碁界の分裂と衰微にはつながらず、日本棋院は囲碁界の中心として現在に至っている。 1933年（昭和8）、木谷実(きたにみのる)と呉清源(ごせいげん)は「新布石」を実戦に試み、旧布石に勢力主義とスピード主義で対抗した。この布石改革を経て、近代碁は新旧両布石の長所を結び合わせた「総合布石」の時代に入っていく。世襲制最後の21世本因坊秀哉(しゅうさい)（1874―1940）は引退し、本因坊の名跡を毎日新聞社に譲渡、1939年には本因坊戦が始まり、プロ碁界は選手権争覇の棋戦の時代に入った。第二次世界大戦後、新聞・テレビの棋戦が増え、専門棋士の活動の基盤となっている。十番碁の呉清源、関西棋院総帥の橋本宇太郎(はしもとうたろう)（1907―1994）、本因坊戦9連覇の高川格(かく)、七冠王64タイトルの坂田栄男(えいお)、棋聖戦6連覇の藤沢秀行(ふじさわひでゆき)（1925―2009）らは、一時代を画した。さらに、時代を制した大棋士として、林海峰(りんかいほう)（1942― ）、趙治勲(ちょうちくん)、小林光一(こういち)（1952― ）などの名があがる。 アマチュアの囲碁人口も1965年（昭和40）ころから飛躍的に増大し、「一千万囲碁ファン」が合いことばになっている。中学・高校生のクラブ活動に碁が取り入れられ、青少年の室内ゲームとしてすでに定着している。アマ棋戦、大会なども活発であり、囲碁はいま真の隆盛期を迎えつつある。 ［小堀啓爾］ 国際化時代1979年（昭和54）に世界アマチュア選手権戦、1985年に日中スーパー囲碁が始まって、碁は実質上国際化の時代に入った。韓国棋院の設立は1955年、中国囲棋協会の設立は1956年であるが、1980年代後半から1990年代にかけて両国の実力は日本に追い付き追い越す勢いにある。その間に登場したスーパースターに、聶衛平(じょうえいへい)（1952― ）、馬暁春(ばぎょうしゅん)（1964― ）、常昊(じょうこう)（1976― ）（以上中国）、曺薫鉉(チョフンヒョン)（1953― ）、李昌鎬(イチャンホ)（1975― ）（以上韓国）などがいる。 とりわけ、韓国の囲碁熱は圧倒的で、囲碁人口900万人（全人口の20％弱）と推定されている。子供囲碁教室も1500校あり、学習塾の数に匹敵している。しかし経済危機によってプロ棋戦が激減し、状況は流動的である。 日本、韓国、中国の3か国以外に台湾にもプロ組織があり、アメリカでも2011年にプロ棋士制度がスタートしている。欧米のファンも着実に漸増しており、チェスにかわって碁がもっとも国際的な盤上ゲームとなるのは、そう遠い日のことではないだろう。 ［小堀啓爾］ 用具碁盤、碁石（白と黒）、碁笥(ごけ)（碁石を入れる器、黒と白1対）で一組。 ［小堀啓爾］ 碁盤碁盤の材質としてカヤ、イチョウ、ヒノキ、カツラなどが用いられ、カヤが最上、カツラが大衆向けにもっとも多く出回っている。カヤは宮崎産のものが上質とされ、とりわけ板目よりも柾目(まさめ)の盤が喜ばれ、かつ高価である。一般に、打ったときの弾力、色つやと木目の美しさ、香り、変色せず長年の使用に耐えるかどうかが盤の良否の基準になる。 盤面の寸法は縦1尺5寸（45.45センチメートル）、横1尺4寸（42.42センチメートル）のやや縦長であり、実戦では縦方向に対局者が座る。19路の線と星は漆で盛り、脚は4本。盤の裏面には「へそ」とよばれる窪(くぼ)みがある。椅子(いす)席用の脚なしの板盤も広範に用いられ、また囲碁の普及につれてプラスチック盤、磁石碁盤なども使われるようになった。 〔盤上の構成〕にみるように、碁盤は縦横19路の平行線分からなり、その交点は361（19×19）ある。十三路盤、九路盤なども入門者、初級者用につくられている。一つ一つの交点を「目(め)」といい、目の上に石を置く。将棋のように升目の中に置くのではない。 9個の黒点を「星(ほし)」とよび、中央の星は特別に「天元(てんげん)」という。 四つの「隅(すみ)」、四つの「辺(へん)」、一つの中央を地域分割すれば、に表示のとおりである。ただしこの呼び方は下方から見たもので、対面の対局者からは、たとえば右上隅は左下隅となる。上辺と左辺に付した洋数字と漢数字は目を座標で示すためのもので、右上隅の星は「16四」（16の四と読む）である。ただしこの数字は表記上の便法であり、普通の碁盤には付されていない。 ［小堀啓爾］ 碁石碁石には種々の材質があるが、黒石の高級物は那智黒(なちぐろ)とよばれる粘板岩からとる。白石の最上物は日向(ひゅうが)産の蛤(はまぐり)であるが、近年品薄となり、メキシコ産の蛤が多く用いられるようになった。一般の普及品としては、ガラスの石があり、シャコガイ、プラスチック、黒曜石、大理石などでつくられることもある。 黒石の数は181個、白石は180個で、全部並べると盤面がいっぱいに埋まる。白石は同じ大きさの黒石より大きく見えるため、黒石よりわずかに小さくつくられている。石数は通常「子(し)」で数え、7個の石は7子という。 ［小堀啓爾］ 碁笥碁笥はクワ、サクラ、クリなどでつくられる。伊豆七島産のクワが高級品であり、普及品としてはプラスチック製のものも多くつくられている。 ［小堀啓爾］ ルールと技術交互着手目(め)の上に石を置くことを「打つ」「着手する」という。盤上のどの目に着手するのも自由であるが、着手した石を他地点に移動できないし、石の上に石を重ねて打てない。着手はかならず黒白交互に行い、これを交互着手という。2手連続着手は違反である。また、着手の一時放棄（パス）は認められない。 ［小堀啓爾］ 活路石の前後左右に隣接する目を、その石の活路(かつろ)という。(1)における（Ⅰ）の黒石はaの4地点、（Ⅱ）辺の端の黒石はaの3地点、（Ⅲ）隅の端の黒石はaの2地点が活路であって、斜めのbはいずれも活路でない。 活路を全部相手に閉ざされた石は死ぬ。(2)の（Ⅰ）は四ツ目殺しとよぶ形で、白は黒石の活路を全部奪った。（Ⅰ）（Ⅱ）（Ⅲ）とも、白は黒石を取り上げ、「アゲハマ」として碁笥の蓋(ふた)に入れ、終局後、黒地(くろじ)を埋めるのに用いる。活路を全部失った石を盤上に残しておいてはならない。 (3)の（Ⅰ）、2子並んだ黒石の一団はaの6か所が活路である。（Ⅱ）の状態は白が5か所の活路を占め、次にaと打てば取れるが、黒がaに打てば逃げ延びることができる。相手の石に包囲され、あと1手で取られるこの状態を、アタリという。白がaと打てば黒の2子を取り上げ、（Ⅲ）の形になる。 ［小堀啓爾］ 着手禁止と例外活路のない地点に着手することはできない。(1)の（Ⅰ）（Ⅱ）とも、黒1の石は打った瞬間すでに活路が白石によってふさがれているから、着手禁止点である。（Ⅲ）の黒1も2子の活路がすべてふさがれているから打てない。 (2)の（Ⅰ）も同様に着手禁止点である。ただし（Ⅱ）の白1は味方の石とつながっている（〔連絡と切断〕の項参照）のであるから、着手禁止とはならない。白の5子を一団とみれば、aの8か所が活路なのである。ただしその8か所の活路が黒石で占められた（Ⅲ）の場合、白1は着手禁止となる。 (3)の（Ⅰ）は黒1が着手禁止であるが、（Ⅱ）のように白石が黒に包囲された場合、1と打つことによって同時に白の活路も失われる。このように相手の石を取り上げることができるときは、着手禁止は適用されない。黒は白8子を取り上げ、（Ⅲ）の形ができる。 (4)の（Ⅰ）、aの地点は互いに相手の石を取ることができるから、着手禁止点ではない。黒が先にaに打てば白石2子をアゲハマとして（Ⅱ）の状態となり、白が先にaに打つことができれば（Ⅲ）となる。 ［小堀啓爾］ 死活活路は石が盤上に存在するための条件であるが、石が明確に活(い)きるためには別の条件が必要である。(1)の（Ⅰ）、隅の黒石にはaの2か所に活路がある。しかし図のように白に包囲されれば、白はいつでもa、bの空点を打って黒石を取り上げにいける。（Ⅱ）は白1によって黒5子を打ち上げることができる。（Ⅲ）の黒石はただちには取り上げられない。しかし白はaを全部打ち、さらにbに打てば3子取れるので、黒石はaやbに活路があっても活きていないのである。 なお、（Ⅰ）も（Ⅲ）も、黒石は死んでいるのであるから、自分の石がさらに敵に逆包囲されて取られる心配のない限り、白は手数をかけて取り上げにいく必要はない。 (2)の（Ⅰ）は、黒石にa、b二つの活路がある。白はaもbも、着手禁止によって打てない。同時にa、b2手打てば取り上げることができるが、それは交互着手のルールに反する。 （Ⅱ）も同様で、白はa、b2か所打っても、c、d2か所に着手禁止点があるので、この黒石は活きであって永久に取られることがない（aやbの目をダメ〈駄目〉という）。 （Ⅰ）のa、b、（Ⅱ）のc、dを、石が活きるための単位として「眼(め)」とよんでいる。独立した二つ以上の眼がある石は活きである。 (3)の（Ⅰ）はa、b二つの活路、二つの目はあるが、活きる単位としての眼は一眼(いちがん)しかない。なぜなら、（Ⅱ）白から1にアタリと打たれると、取られないために黒2と取るが、結局（Ⅲ）となって黒石は取られる（死に）。二つの眼は独立したものでなければならない。 (4)の（Ⅰ）、aの地点は白aと取れるから、着手禁止点ではない。黒がaと打てば今度はbが着手禁止点でなくなり、結局この黒石は死にである。（Ⅱ）のaは（Ⅰ）のa同様、眼とはいえない。白がbに打てば3子がアタリとなり、黒がaに打つなら全体が一眼しかなくなる。白はbもcも打つ必要はなく、このままの状態で黒死にである。（Ⅰ）（Ⅱ）のaを「欠け眼(かけめ)」という。欠け眼は活きに役だたない。死んだ黒（白）石は、最終的には取り除かれて、ほかの黒(くろ)（白）地(じ)の埋め立てに使われる。さらに、取り除かれた部分は白（黒）地となる。したがって、たとえ局地的な石であっても、石の死活は一局の碁の勝敗に深くかかわる。敵の石の活きを脅かしながら、自分の石の勢力を強くし、地を広く取ろうとするのは基本的戦術の一つである。 例外的に眼がなくても活きている状態がある。(5)の（Ⅰ）は白の3子と黒の4子がa、b二つのダメを挟んで対峙(たいじ)している。（Ⅱ）、黒から1と打てば白2と取られるし、逆に白から先に打っても取られる。(6)の（Ⅰ）（Ⅱ）はともに眼が一つある形で、どちらからもaに打てない。打ったほうが取られるからである。この状態を「セキ」とよび、お互い手出ししない限り、このまま終局する。 ［小堀啓爾］ 連絡と切断石が2子以上の集団として活躍するためには、互いにつながっていなければならない。石がつながったために活き、切断されたために死ぬケースは、よくみられるところである。 (1)。石は活路によってのみ連絡できる。（Ⅰ）の黒石はaに活路がある。この活路が連絡のための手足となり、活路を相手に断たれれば切断される。（Ⅱ）（Ⅲ）の2子はそれぞれ連絡している。互いに仲間の活路を占めているからである。(2)の（Ⅰ）、斜めに並んだコスミとよばれる形は、味方の活路の上にいないのだから、このままではつながっていない。（Ⅱ）しかし黒aかbかどちらかに打てば全部つながるのだから、白にa、b両方を打たれない限り連絡とみなしてよい。（Ⅲ）白1なら黒2で連絡だし、逆に白が2なら黒1で連絡となる。 (3)の（Ⅰ）は黒1により自ら連絡し、白の2子を切断した。（Ⅱ）は逆に白1によりつながり、黒の2子を切断した。（Ⅲ）は黒1と打ってもまだつながらない。もう1手黒aと打って初めて連絡なので、白にaと打たれれば切断される。 (4)の（Ⅰ）（Ⅱ）はともに黒1によって連絡である。(5)の（Ⅰ）、黒1で切断。左右の白石は一眼しかなく、全部死にである。（Ⅱ）白1とつながれば左右が握手し、二眼の活きとなる。(6)の（Ⅰ）、黒1と打てばつながり、全体の黒は二眼で活き。（Ⅱ）白1と切られると、隅の黒石は一眼しかなく、死にである。中央の黒4子は、白aなら黒b、白bなら黒aなのでつながっている。この形をタケフ（竹節）といい、2手連打（白a、白b）されない限り切れない。 一度切断されても当の切断石を取ることができれば、連絡が回復する。(7)の（Ⅰ）、白1で一度は切られるが、（Ⅱ）続けて黒2とすれば白石は取れている（白aは黒b）。この白石を取れれば、連絡が回復する。 ［小堀啓爾］ 地切断されない連続した石で囲った目の集合を「地(じ)」といい、その量を「目(もく)」で数える。眼が最少の二眼で活きた石の地は2目である。盤上の各部分の白黒双方の地の総和の大小により勝敗が決められる。(1)の（Ⅰ）の黒地は14目あり、（Ⅱ）の活き石の地は3目である。(2)の（Ⅰ）の白2子は取れている（死んでいる）。最終的にこの2子はアゲハマとして取り上げ、白地に埋めるから、ここの黒地は12目＋2目＝14目の大きさである。同様に（Ⅱ）の白石は死に。ここの黒地は18目であることがわかる。 外部からの侵入や内部への攪乱(かくらん)が残っている地は完全な地とはいえない。(3)の（Ⅰ）、aの出口があいており、白aと打たれると黒地は大幅に崩れるので、黒aと備えて初めて完全な黒地となる。（Ⅱ）は隅を大まかに囲った形。しかし白1と打ち込まれ、黒地の内部で活きられると黒地は大幅に減少する。 地を囲う連続の石はそれ自身活き石でなければならず、侵入を食い止め、打ち込んできた石を殺す用意があって初めて完全な地に数えられる。 ［小堀啓爾］ コウ(1)、黒1と取る形をコウ（劫）という。続いて(2)、白2と取り返し、(3)、また黒3と取れば際限がない。この同形反覆を避けるため、相手にコウを取られたとき、すぐには取り返せないと、ルール上決められている。コウをあきらめるか、ほかに1手以上打ってからコウを取り返す。 (4)、黒1に白はすぐ取り返せない。コウを続行したいなら、たとえば白2と打つ。次に白aと黒石を殺す意味であり、このような手段を「コウ立(だ)て」といい、コウ立ての素材となる白2、aの場所を「コウ材(ざい)」とよんでいる。(5)、黒は二者択一に迫られる。黒aと打ってコウを解消すれば白bで黒の一団が死ぬし、黒bと活きれば白はaと取り返し、「コウ争い」が続く。 石の死活にコウが出現することが多い。(6)の（Ⅰ）の白石は活きであるが、（Ⅱ）はこのままではコウ残り。白aなら活き、黒aならコウ。コウになれば、コウ材の多寡によって活きか死にかが決まる。したがって、コウ争いをしかける場合は、彼我のコウ材の数を比較してからするのがよい。 ［小堀啓爾］ 石を取る技術いわゆる四ツ目殺し以外の基本的な石の取り方を列記する。 (1)。相手の目の急所に石を置き、眼形を奪う手段を「中手(なかで)」という。（Ⅰ）は3目中手、（Ⅱ）は4目中手、（Ⅲ）は5目中手。いずれも黒1により白は一眼しかなく、死に。逆に白から1の点に打てば活きられる。中手は死活の基本であり、これ以外にもさまざまな中手がある。 (2)。（Ⅰ）の黒1は「ゲタ」（下駄）。これで白1子は取れている。（Ⅱ）白1、3と逃げられない。(3)の（Ⅰ）白1、3と外から迫れば、黒2、4で取れる。（Ⅱ）放置すると、白1で外へ連絡されるのである。 (4)。（Ⅰ）黒1とアテる形を「シチョウ」という。（Ⅱ）白が逃げれば、アタリ、アタリとジグザグに追いかける。アタリをかける方向を間違えてはならない。最後は盤の端まで追い、全体を取れる。 (5)。（Ⅰ）行く手に敵の援軍がいれば、黒7まで追いかけても白8で援軍に連絡し、黒の失敗となる。（Ⅱ）は白の援軍をすり抜けて、取ることに成功。取れないシチョウを追いかけたり、取られているシチョウを逃げるのはたいへんな損害になる。したがって、俗に「シチョウ知らずに碁を打つな」とまでいわれている。 (6)。（Ⅰ）黒1はアタリであるが、用語では「カカエ」（抱え）とよばれる形。白の1子は2と逃げても黒3だから、1で取られている。（Ⅱ）逆のほうから1とアテるのは、白2と逃げられ、失敗となる。 (7)。（Ⅰ）黒1と打つのがうまい手。この手でaにアテるのは、白1とつながれて、取れない。（Ⅱ）白2と黒石を取れば、そのあと黒は取られた黒の地点に打ち白3子を取り返す。この手法を「打ッテ返シ」という。 (8)。（Ⅰ）黒1と打てば、アタリ。しかし、白はaと打てない。白aなら黒bと大きく取られてしまう。したがって黒1で3子は取れている。（Ⅱ）黒1はアタリ。白aとアタリを防いでも、黒bで全体を取られる。したがって黒1により、白の5子は取れているのである。 ［小堀啓爾］ 競技方法互先と置碁対局者の技量がほぼ等しいときは「互先(たがいせん)」で打ち、先(せん)（先番、黒番）を交互にもつ。黒を持ったものが第一着を打ち、以下交互着手で打ち進める。碁では先番有利なので、公平を期し、黒は白に対して通常6目半の「コミ」を出す。終局し、地合いが黒8目よければコミを差し引いて黒1目半勝ち、盤面「持碁(じご)」（黒地、白地が同数）なら、白の6目半勝ちとなる。技量が拮抗(きっこう)すれば、6目半のコミで勝敗は五分に近い。 力に差がある場合、コミなしの「定先(じょうせん)」（いつも先番）か、下位者（下手(したて)）があらかじめ石を置き、ハンデをつける。「置碁(おきご)」は普通、2子局から9子局までだが、場合によっては9子以上置くこともある。 。9子局までの置石はかならず星に置く。黒1から黒9までが9子局（星目(せいもく)碁）の正しい置き順序であり、星目以上ならaを加えた「星目風鈴(ふうりん)」、さらにbを加えた「星目風鈴中四目(なかしもく)」などがある。なお、星目は井目、聖目とも書かれる。8子以下の置石と置き順序は、 ［小堀啓爾］ 一局の碁まず互先か定先か何子置くかを決め、碁笥は盤の正面手前に、碁笥の蓋(ふた)は盤の手前右側に置いて、相手がアゲハマの数を一目で確認できるようにする。互先で黒番を決めるときは、一方が石を適当に「ニギリ」、他方が丁半で言い当てる方法が正式のやり方である。置碁では「上手(うわて)」（白）から第一着を打ち始めるが、定先、互先では黒が第一着を打ち、その際、第一着の着点はたいてい右上隅が選ばれる。右上隅は相手がもっとも打ちにくい左下隅にあたるという、礼儀上の習慣からである。 一局の碁は通常、序盤―中盤―終盤の3段階に分けることができ、内容からすれば、序盤は中盤に備えての「布石(ふせき)」、中盤は地と石をめぐっての「戦い」、終盤は戦いがおおむね終わり、地を確定するための「ヨセ」に相当する。いま、プロ高段者の打碁から、布石、戦い、ヨセの一場面を取り出してみる。 (1)。起手(きしゅ)（第一手）から序盤戦の十数手を数字が示している。碁盤の手前が先番、向こう側が白番。この例図にもみられるように、布石は隅→辺→中央という順序が着手の一般的な原則とされている。地と根拠をもっとも得やすい隅から打ち始めるのが、効率がよいとされる。 (2)。（Ⅰ）隅の着点はaが「星」、bが「三々(さんさん)」、cの2点が「小目(こもく)」、dの2点が「目外し(もくはずし)」、eの2点が「高目(たかもく)」で、だいたいこの8か所に限られる。（Ⅱ）たとえば小目からもう1手かけて、1と引き締めるのを「シマリ」といい、（Ⅲ）シマリを妨げる白1は「カカリ」である。シマリとカカリはこれのみに限らず、種類が多い。 (1)に戻り、黒5がシマリ、黒7がカカリである。隅へのカカリから、しばしば部分的な折衝がみられ、白8以下16までは二間高バサミ「定石(じょうせき)」とよばれる。定石は隅における双方妥当な石運びから、ほぼ互角に分かれる典型的な変化型のことであり、その数は多い。定石は時代に応じ、種々研究開発されている。 (3)。手順が進み、碁は序盤から中盤に差しかかっている。地は全体に黒のほうが多い。しかし左上黒の一団が弱く、白は2以下「攻め」によって戦機をみいだそうとしている。石が弱いとは、眼形が乏しく、活きるまで苦労するということである。本局は白の攻め、黒の「シノギ」をめぐって、中盤戦が展開されていく。 (4)。終盤のヨセに入っている。ヨセはおおむね地の境界線が明確になり、多少の戦いを含みながらも互いに地を固めていく過程である。互いに相手の地を減らし、味方の地を増やそうとする。ヨセは大きな手を打つ「大ヨセ」の時期と、小さなヨセを打つ「小ヨセ」の時期に分かれるが、図の白1から黒10あたりは大ヨセに該当する。 ［小堀啓爾］ 終局と碁のつくり方碁を最後まで打たず、途中で勝負をあきらめることもできる。負けを認めた対局者が「投了(とうりょう)」すれば、勝者は「中押勝ち(ちゅうおしがち)」となる。中押負けを宣言するのは回復できないほどの「大石(たいせき)」を取られた場合、また地合(じあ)いが接近していても紛れるところがなく挽回(ばんかい)不可能の場合などである。 最後まで打って「終局(しゅうきょく)」すれば、「地合い」（地）を数える。地の多いほうが勝ちであり、地の差により黒3目勝ち、白1目勝ちなどと勝負を決定する。地合いが同じなら持碁(じご)であり勝負は引き分けとなるが、6目半など半目をつけたコミ碁には持碁はありえない。 かりに十三路盤を用いて地を数えてみる。以下の操作は「碁をつくる」手続であり、一局の碁の最終段階にあたる。 (1)。碁が終局し、双方の利益になる着手はどこにも残されていない。終局を確認しあえば、つくる作業に入る。 〔1〕まず自分の地の中に必要な「手入(てい)れ」を行う。黒はa、b、cの3か所に手入れ。白はd、eの2か所に手入れ。これらの点は現在必要なくても、最終的にはかならず必要になる。 〔2〕互いの地に関係のない、境界線のダメを詰め合う。手入れとダメは混合して打ち合ってもよい。(2)がその一例で、最終黒19までは勝負に関係のない手順である。1、3、5、6、8以外はすべてダメの手。この操作の途中、本来の地がなくなることのないよう、注意を要する。たとえば、白10に黒11が必要。打たなければ白11でaの黒地がつぶれる。14のところは白15に打っても黒17なので、ここは1目にもならないダメ。黒19でダメを全部打ち終えた。 〔3〕次に、取り込んだ相手の石を取り上げる。黒は上辺の白2子、右下の白2子、計4子を、白は左下の黒5子（死に石）を取り上げる。この例題では、すでに黒にはアゲハマが3子、白に2子あり、双方7子ずつのアゲハマとなる。そのアゲ石を相手の地の中に埋める。その結果が(3)。 〔4〕最後に、地が数えやすいように整地する。その際、地が増減することのないよう、注意しなければならない。完成図が(4)。黒地は上辺に10目、下辺に12目、計22目。白地は左下に18目。差し引き、黒の4目勝ちが確認された。黒6目半コミ出しなら、白の2目半勝ちである。 ［小堀啓爾］ 中国ルール現在中国で行われている中国ルールは、勝負の結果において日本ルールとほとんど差はない。しかし多少の違いを生ずる場合があり、また日本ルールが本来抱えているルール上の欠陥を解消するものとして、中国ルールは注目されている。 中国ルールでは生存した石の多少を争う。地は最終的にはその中に自分の石を埋めうることで意味をもつ。ダメもまた石の生存という点で意義があり、ダメを全部打ち終えてから終局となる。したがって、黒が最後のダメを詰めて終局した場合は、日本ルールに比べて1目の差を生ずる。また、アゲハマで相手の地を埋めることは意味がないから、アゲハマの保持、計算は必要ない。石を取り上げれば、相手の碁笥に返してもよい。そのほか、特殊なケースにおいて、日本ルールと多少の差を生ずることがある。 ［小堀啓爾］ おもなタイトル戦プロ棋士が行う公式戦は対局数や持ち時間、秒読み開始時間などがタイトルによって異なる。タイトル戦ではリーグ戦またはトーナメント戦によってタイトル保持者に対する挑戦者を決定し、七番または五番手合で勝敗を決することが多い。おもなタイトル戦のうち、棋聖、名人、本因坊、王座、天元、碁聖、十段は七大タイトルとよばれ、男女を問わず全棋士に参加資格がある。七大タイトルを同時に保持することを七冠と称する。2016年に井山裕太（1989― ）が七冠を獲得したのが史上初である（2017年に二度目の七冠獲得）。生涯通算で七大タイトルを制することはグランドスラムとよばれ、1987年に趙治勲、2010年に張栩(ちょうう)（1980― ）、2013年に井山裕太が達成している。また、このうち棋聖、名人、本因坊を同時に保持することを大三冠といい、達成者は趙治勲（1983、1996年）、井山裕太（2013、2017、2020年）。これらのタイトルは5期連続または通算10期獲得することで、引退後（または60歳を過ぎた後）に名誉棋聖といった名誉称号を名乗ることができる。もともと囲碁の家元名であった本因坊に限っては名誉本因坊ではなく、代数を入れて「○○世本因坊」と名乗る。1936年に本因坊の名跡が日本棋院に譲渡されタイトル戦となってから2020年までに、高川格（22世秀格）、坂田栄男（23世栄寿）、石田芳夫（24世秀芳、1948― ）、趙治勲（25世治勲、本因坊戦10連覇などの特出した業績により、60歳前の1998年から名誉称号を認められている）、井山裕太（26世文裕、本因坊戦9連覇により、名誉称号が認められている）の5人が本因坊を襲位した。 女流プロ棋士の公式戦では女流本因坊、女流名人、女流棋聖が三大タイトルとよばれ、全女流棋士に参加資格がある。2010年に謝依旻(しぇいいみん)（1989― ）が初めて女流三冠を達成した。 また日本のみならず中国や韓国にもプロ棋院があり、欧米出身のプロ棋士も増えているように愛好者は世界中に広がっていることから、国際交流戦、国際団体戦といった国際戦も数多く開催されている。
名人戦 本因坊戦 王座戦 天元戦 碁聖戦 十段戦 女流本因坊戦 女流名人戦 女流棋聖戦 ［編集部］ 主要な囲碁用語●アタリ 次に相手の石が取れる状態。 ●厚い 眼形(がんけい)に不安がなく、強い威力をもつこと。厚い形。 ●一間(いっけん) 主として自分の石から一路隔てて打つ形。(1)の（Ⅰ）は一間ジマリ、（Ⅱ）は一間トビ。 ●一線(いっせん) 盤端の線。一線から天元側へ、二線、三線、……と続き、普通、五線くらいまでが用語として用いられる。隅の小目は三線と四線の交点にあたる。 ●薄い 「厚い」の逆。眼形に乏しく攻められる形。また、相手に追い込みを許す形勢。 ●打欠き(うちかき) (2)、黒1が打欠き。相手の眼(め)を奪ったり、石の手数(てかず)を詰めるときなど、この手段が使われる。 ●打込み(うちこみ) 相手の地、勢力圏に単独で進入する手段。打込みはしばしば中盤戦の主役になる。 ●大場(おおば) 序盤のだいじな要点。主として辺への展開をいう。 ●オサエ 相手の進出を密着して止める手段。(3)、黒1。白の進出を押さえ付けている。 ●オシツブシ 石が活(い)きる一つの型。(4)、黒1がその例。白aは活路なしの着手禁止点なので打てない。したがって、黒はaと打って二眼ができ活きている。 ●カケ 上から圧迫する手段の一つ。(5)、黒1のカケが白石を圧迫している。 ●カケツギ 断点を1路ずらしてツグ形。(6)、黒1のカケツギはaの断点を守っている。 ●カタツギ 断点のツギ方の一種。(7)、黒1のように断点を直接ツグ形をいう。 ●キカシ 先手(せんて)で打てて、なんらかのプラスになる手をいう。いつでも打てるキカシを保留している場合、そこにはキキ、キキ筋があるという。(8)、黒1に白2と受けねばならないから、黒1はキカシである。しかし場合によっては1ではなくaと迫る手もあり、1を保留するなら、1とaのキキをみることになる。 ●急所(きゅうしょ) 打てば形がしっかりと整い、相手から打たれれば形が崩れる要点をいう。 ●キリ 断点を切断すること。(9)、黒1がキリで、ツギと表裏をなす。 ●形勢判断(けいせいはんだん) 局面の優劣を判断すること。序盤から終盤まで、形勢判断が可能で、それによって控えるか強く打つか、着手の基準が分かれる。 ●ケイマ〔桂馬〕 将棋の桂馬のように、一間トビから1路ずれた形。(10)、黒1。 ●消し(けし) 相手の勢力圏に浅く侵入する手段。(11)、黒1は白の勢力圏を浅く消している。1でaなら打込みである。 ●コスミ 自分の石から1路斜めに打つ形。(12)、黒1がコスミ。aに白石があるなら1は「コスミツケ」という。 ●後手(ごて) 相手が受けてくれない着手。碁のあらゆる着手は、部分の形に応じて、後手か「先手」のどちらかである。また、互先(たがいせん)と定先の碁で、黒を先手番、白を後手番ともいう。 ●サガリ 盤の端方向にノビる形。(13)、黒1がサガリである。 ●サバキ 攻められそうな石を効率よく、攻められぬ形にもっていくこと。相手の攻めに対して、サバキと「シノギ」がある。 ●サルスベリ 相手の地を減らす一手段。(14)、黒1がサルスベリ。1を「大ザル」、黒aを「小ザル」ともいう。 ●三連星(さんれんせい) (15)の右辺のように一辺の星三つが並んだ形。布石の有力な形で、二つが1路ずれた形は「中国流(ちゅうごくりゅう)」という。 ●実利(じつり) 目前の実質的な地。未知数の可能性を秘めた「勢力」に相対する用語。 ●シノギ 攻められている石が治まること。サバキの場合よりも、よりきつい攻めに対して、シノギが要求される。 ●重複(じゅうふく) 石がだぶり、働きと効率の乏しい状態。「凝り形」ともいう。 ●隅の曲り四目(すみのまがりしもく) (16)の黒石が隅の曲り四目。黒からaと詰めれば3目中手(なかで)で死ぬが、白からはaと打ち、黒bヌキ、白aの1路下にツケてコウになる。黒は手出しできないのに白はいつでもコウにいける有利な立場にあるので、ルール上この黒石は死にと規定されている。 ●勢力(せいりょく) 実利は伴わないが、厚みの威力をもった石の集団。たとえば(17)は基本定石の一つであるが、白は実利、黒は勢力を誇っている。 ●攻合い(せめあい) 双方の石が取るか取られるかの状態。(18)は、黒1と先着すれば、3子どうしの攻合いは黒の1手勝ちとなる。 ●先手(せんて) 自分が打つと相手が受けねばならない状態。 ●力碁(ちからご) 乱戦になると力を発揮するタイプの棋風。力戦型。 ●ツギ 断点を補う手。カタツギ、カケツギなど。 ●ツキアタリ 自分の石から相手の石にぶつかっていく手。(19)、黒1。 ●ツケ 相手の石に単独で接触する手。(20)の（Ⅰ）、黒1がツケ。（Ⅱ）は「トビツケ」。 ●ツケコシ (21)、黒1がその例。利用度の高い手筋である。 ●ツメ 相手のヒラキを妨げて詰め寄る手段。(22)、黒1。 ●手筋(てすじ) 石の働きがもっとも効果的な手段。石の形、急所などとともに、碁を学ぶうえでもっともだいじな考え方である。 ●トビ 自分の石から1路か1路以上飛び越えて打つ形。一間トビ、二間トビなどがある。 ●取り返し(とりかえし) (23)、白1で黒の2子を取られても、次の手で黒は1の右に取り返すことができるので、活きている。 ●二間(にけん) 2路飛び越して打つ形。(24)の（Ⅰ）、黒1は隅の二間ジマリ、（Ⅱ）は二間トビ。 ●二段バネ (にだんバネ) (25)、黒1はハネであるが、白2に黒3が二段バネ。 ●ノゾキ 次にキリをみて断点に迫る形。(26)、1のノゾキは次にaのキリをみている。 ●ノビ 自分の石から、1路縦横に並ぶ形。 ●ハイ 相手の石の下を並ぶ形で食い込む。たとえば、(27)、黒1。 ●ハサミ 相手の石を挟撃する手段。(28)、黒1は白石を一間でハサんでいるから一間バサミという。 ●ハネ 互いに接触した形から、相手の石の進路を止める手。 ●ヒキ 自分のほうへノビて戻る形。(29)、黒1。 ●ヒラキ 自石の安定、または勢力圏拡大のため辺に展開する手。(30)、黒1。 ●フリカワリ 戦いの帰結として、相手に一定のものを与えるかわりに自分も代償を得る戦法。コウのフリカワリはその一例である。 ●マガリ (31)、黒1がマガリ。aに白石があれば「マゲ」になる。 ●モヨウ〔模様〕 地になりそうな勢力圏。モヨウの大きな構えを大モヨウといい、三連星や中国流はそれ自身、モヨウといえる。 ●両アタリ(りょうアタリ) 二つの石が同時にアタリになり、どちらか一方が取れる状態。(32)、黒1は両アタリである。 ●ワタリ〔渡り〕 連絡の一つの形。(33)、黒1で隅の2子がワタれている。 ［小堀啓爾］ 『瀬越憲作・渡辺英夫他編『御城碁譜』（1950・誠文堂新光社）』▽『高川格著『碁を始める人のために』（1952・ハンドブック社）』▽『安藤如意著、渡辺英夫改補『坐隠談叢』（1955・新樹社）』▽『瀬越憲作・木谷実・坂田栄男著『囲碁百年』（1968・平凡社）』▽『渡部義通著『古代囲碁の世界』（1977・三一書房）』 [参照項目] | | |主上と薫の対局。唐制に倣い、上首である帝が黒石を持っている。『源氏物語絵巻』 「宿木」 写国立国会図書館所蔵"> 平安時代の碁 ©Shogakukan"> 碁盤の構成（盤面の位置の呼び方）〔図A… ©Shogakukan"> 碁のルールと技術（活路）〔図B〕 ©Shogakukan"> 碁のルールと技術（着手禁止と例外）〔図… ©Shogakukan"> 碁のルールと技術（死活）〔図D〕 ©Shogakukan"> 碁のルールと技術（連絡と切断）〔図E〕 ©Shogakukan"> 碁のルールと技術（地）〔図F〕 ©Shogakukan"> 碁のルールと技術（コウ）〔図G〕 ©Shogakukan"> 碁のルールと技術（石を取る技術）〔図H… ©Shogakukan"> 碁の競技方法（互先と置碁）〔図I〕 ©Shogakukan"> 碁の競技方法（一局の碁）〔図J〕 ©Shogakukan"> 碁の競技方法（終局の碁のつくり方）〔図… ©Shogakukan"> 主要な囲碁用語(1)〔図L〕 ©Shogakukan"> 主要な囲碁用語(2)〔図M〕 出典 小学館 日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について 情報 | 凡例 |
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