Background: #fff
Foreground: #000
PrimaryPale: #8cf
PrimaryLight: #18f
PrimaryMid: #04b
PrimaryDark: #014
SecondaryPale: #ffc
SecondaryLight: #fe8
SecondaryMid: #db4
SecondaryDark: #841
TertiaryPale: #eee
TertiaryLight: #ccc
TertiaryMid: #999
TertiaryDark: #666
Error: #f88
<div class='toolbar' macro='toolbar [[ToolbarCommands::EditToolbar]]'></div>
<div class='title' macro='view title'></div>
<div class='editor' macro='edit title'></div>
<div macro='annotations'></div>
<div class='editor' macro='edit text'></div>
<div class='editor' macro='edit tags'></div><div class='editorFooter'><span macro='message views.editor.tagPrompt'></span><span macro='tagChooser excludeLists'></span></div>
To get started with this blank [[TiddlyWiki]], you'll need to modify the following tiddlers:
* [[SiteTitle]] & [[SiteSubtitle]]: The title and subtitle of the site, as shown above (after saving, they will also appear in the browser title bar)
* [[MainMenu]]: The menu (usually on the left)
* [[DefaultTiddlers]]: Contains the names of the tiddlers that you want to appear when the TiddlyWiki is opened
You'll also need to enter your username for signing your edits: <<option txtUserName>>
<link rel='alternate' type='application/rss+xml' title='RSS' href='index.xml' />
These [[InterfaceOptions]] for customising [[TiddlyWiki]] are saved in your browser

Your username for signing your edits. Write it as a [[WikiWord]] (eg [[JoeBloggs]])

<<option txtUserName>>
<<option chkSaveBackups>> [[SaveBackups]]
<<option chkAutoSave>> [[AutoSave]]
<<option chkRegExpSearch>> [[RegExpSearch]]
<<option chkCaseSensitiveSearch>> [[CaseSensitiveSearch]]
<<option chkAnimate>> [[EnableAnimations]]

Also see [[AdvancedOptions]]
<div class='header' role='banner' macro='gradient vert [[ColorPalette::PrimaryLight]] [[ColorPalette::PrimaryMid]]'>
<div class='headerShadow'>
<span class='siteTitle' refresh='content' tiddler='SiteTitle'></span>&nbsp;
<span class='siteSubtitle' refresh='content' tiddler='SiteSubtitle'></span>
<div class='headerForeground'>
<span class='siteTitle' refresh='content' tiddler='SiteTitle'></span>&nbsp;
<span class='siteSubtitle' refresh='content' tiddler='SiteSubtitle'></span>
<div id='mainMenu' role='navigation' refresh='content' tiddler='MainMenu'></div>
<div id='sidebar'>
<div id='sidebarOptions' role='navigation' refresh='content' tiddler='SideBarOptions'></div>
<div id='sidebarTabs' role='complementary' refresh='content' force='true' tiddler='SideBarTabs'></div>
<div id='displayArea' role='main'>
<div id='messageArea'></div>
<div id='tiddlerDisplay'></div>
body {background:[[ColorPalette::Background]]; color:[[ColorPalette::Foreground]];}

a {color:[[ColorPalette::PrimaryMid]];}
a:hover {background-color:[[ColorPalette::PrimaryMid]]; color:[[ColorPalette::Background]];}
a img {border:0;}

h1,h2,h3,h4,h5,h6 {color:[[ColorPalette::SecondaryDark]]; background:transparent;}
h1 {border-bottom:2px solid [[ColorPalette::TertiaryLight]];}
h2,h3 {border-bottom:1px solid [[ColorPalette::TertiaryLight]];}

.button {color:[[ColorPalette::PrimaryDark]]; border:1px solid [[ColorPalette::Background]];}
.button:hover {color:[[ColorPalette::PrimaryDark]]; background:[[ColorPalette::SecondaryLight]]; border-color:[[ColorPalette::SecondaryMid]];}
.button:active {color:[[ColorPalette::Background]]; background:[[ColorPalette::SecondaryMid]]; border:1px solid [[ColorPalette::SecondaryDark]];}

.header {background:[[ColorPalette::PrimaryMid]];}
.headerShadow {color:[[ColorPalette::Foreground]];}
.headerShadow a {font-weight:normal; color:[[ColorPalette::Foreground]];}
.headerForeground {color:[[ColorPalette::Background]];}
.headerForeground a {font-weight:normal; color:[[ColorPalette::PrimaryPale]];}

.tabSelected {color:[[ColorPalette::PrimaryDark]];
	border-left:1px solid [[ColorPalette::TertiaryLight]];
	border-top:1px solid [[ColorPalette::TertiaryLight]];
	border-right:1px solid [[ColorPalette::TertiaryLight]];
.tabUnselected {color:[[ColorPalette::Background]]; background:[[ColorPalette::TertiaryMid]];}
.tabContents {color:[[ColorPalette::PrimaryDark]]; background:[[ColorPalette::TertiaryPale]]; border:1px solid [[ColorPalette::TertiaryLight]];}
.tabContents .button {border:0;}

#sidebar {}
#sidebarOptions input {border:1px solid [[ColorPalette::PrimaryMid]];}
#sidebarOptions .sliderPanel {background:[[ColorPalette::PrimaryPale]];}
#sidebarOptions .sliderPanel a {border:none;color:[[ColorPalette::PrimaryMid]];}
#sidebarOptions .sliderPanel a:hover {color:[[ColorPalette::Background]]; background:[[ColorPalette::PrimaryMid]];}
#sidebarOptions .sliderPanel a:active {color:[[ColorPalette::PrimaryMid]]; background:[[ColorPalette::Background]];}

.wizard {background:[[ColorPalette::PrimaryPale]]; border:1px solid [[ColorPalette::PrimaryMid]];}
.wizard h1 {color:[[ColorPalette::PrimaryDark]]; border:none;}
.wizard h2 {color:[[ColorPalette::Foreground]]; border:none;}
.wizardStep {background:[[ColorPalette::Background]]; color:[[ColorPalette::Foreground]];
	border:1px solid [[ColorPalette::PrimaryMid]];}
.wizardStep.wizardStepDone {background:[[ColorPalette::TertiaryLight]];}
.wizardFooter {background:[[ColorPalette::PrimaryPale]];}
.wizardFooter .status {background:[[ColorPalette::PrimaryDark]]; color:[[ColorPalette::Background]];}
.wizard .button {color:[[ColorPalette::Foreground]]; background:[[ColorPalette::SecondaryLight]]; border: 1px solid;
	border-color:[[ColorPalette::SecondaryPale]] [[ColorPalette::SecondaryDark]] [[ColorPalette::SecondaryDark]] [[ColorPalette::SecondaryPale]];}
.wizard .button:hover {color:[[ColorPalette::Foreground]]; background:[[ColorPalette::Background]];}
.wizard .button:active {color:[[ColorPalette::Background]]; background:[[ColorPalette::Foreground]]; border: 1px solid;
	border-color:[[ColorPalette::PrimaryDark]] [[ColorPalette::PrimaryPale]] [[ColorPalette::PrimaryPale]] [[ColorPalette::PrimaryDark]];}

.wizard .notChanged {background:transparent;}
.wizard .changedLocally {background:#80ff80;}
.wizard .changedServer {background:#8080ff;}
.wizard .changedBoth {background:#ff8080;}
.wizard .notFound {background:#ffff80;}
.wizard .putToServer {background:#ff80ff;}
.wizard .gotFromServer {background:#80ffff;}

#messageArea {border:1px solid [[ColorPalette::SecondaryMid]]; background:[[ColorPalette::SecondaryLight]]; color:[[ColorPalette::Foreground]];}
#messageArea .button {color:[[ColorPalette::PrimaryMid]]; background:[[ColorPalette::SecondaryPale]]; border:none;}

.popupTiddler {background:[[ColorPalette::TertiaryPale]]; border:2px solid [[ColorPalette::TertiaryMid]];}

.popup {background:[[ColorPalette::TertiaryPale]]; color:[[ColorPalette::TertiaryDark]]; border-left:1px solid [[ColorPalette::TertiaryMid]]; border-top:1px solid [[ColorPalette::TertiaryMid]]; border-right:2px solid [[ColorPalette::TertiaryDark]]; border-bottom:2px solid [[ColorPalette::TertiaryDark]];}
.popup hr {color:[[ColorPalette::PrimaryDark]]; background:[[ColorPalette::PrimaryDark]]; border-bottom:1px;}
.popup li.disabled {color:[[ColorPalette::TertiaryMid]];}
.popup li a, .popup li a:visited {color:[[ColorPalette::Foreground]]; border: none;}
.popup li a:hover {background:[[ColorPalette::SecondaryLight]]; color:[[ColorPalette::Foreground]]; border: none;}
.popup li a:active {background:[[ColorPalette::SecondaryPale]]; color:[[ColorPalette::Foreground]]; border: none;}
.popupHighlight {background:[[ColorPalette::Background]]; color:[[ColorPalette::Foreground]];}
.listBreak div {border-bottom:1px solid [[ColorPalette::TertiaryDark]];}

.tiddler .defaultCommand {font-weight:bold;}

.shadow .title {color:[[ColorPalette::TertiaryDark]];}

.title {color:[[ColorPalette::SecondaryDark]];}
.subtitle {color:[[ColorPalette::TertiaryDark]];}

.toolbar {color:[[ColorPalette::PrimaryMid]];}
.toolbar a {color:[[ColorPalette::TertiaryLight]];}
.selected .toolbar a {color:[[ColorPalette::TertiaryMid]];}
.selected .toolbar a:hover {color:[[ColorPalette::Foreground]];}

.tagging, .tagged {border:1px solid [[ColorPalette::TertiaryPale]]; background-color:[[ColorPalette::TertiaryPale]];}
.selected .tagging, .selected .tagged {background-color:[[ColorPalette::TertiaryLight]]; border:1px solid [[ColorPalette::TertiaryMid]];}
.tagging .listTitle, .tagged .listTitle {color:[[ColorPalette::PrimaryDark]];}
.tagging .button, .tagged .button {border:none;}

.footer {color:[[ColorPalette::TertiaryLight]];}
.selected .footer {color:[[ColorPalette::TertiaryMid]];}

.error, .errorButton {color:[[ColorPalette::Foreground]]; background:[[ColorPalette::Error]];}
.warning {color:[[ColorPalette::Foreground]]; background:[[ColorPalette::SecondaryPale]];}
.lowlight {background:[[ColorPalette::TertiaryLight]];}

.zoomer {background:none; color:[[ColorPalette::TertiaryMid]]; border:3px solid [[ColorPalette::TertiaryMid]];}

.imageLink, #displayArea .imageLink {background:transparent;}

.annotation {background:[[ColorPalette::SecondaryLight]]; color:[[ColorPalette::Foreground]]; border:2px solid [[ColorPalette::SecondaryMid]];}

.viewer .listTitle {list-style-type:none; margin-left:-2em;}
.viewer .button {border:1px solid [[ColorPalette::SecondaryMid]];}
.viewer blockquote {border-left:3px solid [[ColorPalette::TertiaryDark]];}

.viewer table, table.twtable {border:2px solid [[ColorPalette::TertiaryDark]];}
.viewer th, .viewer thead td, .twtable th, .twtable thead td {background:[[ColorPalette::SecondaryMid]]; border:1px solid [[ColorPalette::TertiaryDark]]; color:[[ColorPalette::Background]];}
.viewer td, .viewer tr, .twtable td, .twtable tr {border:1px solid [[ColorPalette::TertiaryDark]];}

.viewer pre {border:1px solid [[ColorPalette::SecondaryLight]]; background:[[ColorPalette::SecondaryPale]];}
.viewer code {color:[[ColorPalette::SecondaryDark]];}
.viewer hr {border:0; border-top:dashed 1px [[ColorPalette::TertiaryDark]]; color:[[ColorPalette::TertiaryDark]];}

.highlight, .marked {background:[[ColorPalette::SecondaryLight]];}

.editor input {border:1px solid [[ColorPalette::PrimaryMid]];}
.editor textarea {border:1px solid [[ColorPalette::PrimaryMid]]; width:100%;}
.editorFooter {color:[[ColorPalette::TertiaryMid]];}
.readOnly {background:[[ColorPalette::TertiaryPale]];}

#backstageArea {background:[[ColorPalette::Foreground]]; color:[[ColorPalette::TertiaryMid]];}
#backstageArea a {background:[[ColorPalette::Foreground]]; color:[[ColorPalette::Background]]; border:none;}
#backstageArea a:hover {background:[[ColorPalette::SecondaryLight]]; color:[[ColorPalette::Foreground]]; }
#backstageArea a.backstageSelTab {background:[[ColorPalette::Background]]; color:[[ColorPalette::Foreground]];}
#backstageButton a {background:none; color:[[ColorPalette::Background]]; border:none;}
#backstageButton a:hover {background:[[ColorPalette::Foreground]]; color:[[ColorPalette::Background]]; border:none;}
#backstagePanel {background:[[ColorPalette::Background]]; border-color: [[ColorPalette::Background]] [[ColorPalette::TertiaryDark]] [[ColorPalette::TertiaryDark]] [[ColorPalette::TertiaryDark]];}
.backstagePanelFooter .button {border:none; color:[[ColorPalette::Background]];}
.backstagePanelFooter .button:hover {color:[[ColorPalette::Foreground]];}
#backstageCloak {background:[[ColorPalette::Foreground]]; opacity:0.6; filter:alpha(opacity=60);}
* html .tiddler {height:1%;}

body {font-size:.75em; font-family:arial,helvetica; margin:0; padding:0;}

h1,h2,h3,h4,h5,h6 {font-weight:bold; text-decoration:none;}
h1,h2,h3 {padding-bottom:1px; margin-top:1.2em;margin-bottom:0.3em;}
h4,h5,h6 {margin-top:1em;}
h1 {font-size:1.35em;}
h2 {font-size:1.25em;}
h3 {font-size:1.1em;}
h4 {font-size:1em;}
h5 {font-size:.9em;}

hr {height:1px;}

a {text-decoration:none;}

dt {font-weight:bold;}

ol {list-style-type:decimal;}
ol ol {list-style-type:lower-alpha;}
ol ol ol {list-style-type:lower-roman;}
ol ol ol ol {list-style-type:decimal;}
ol ol ol ol ol {list-style-type:lower-alpha;}
ol ol ol ol ol ol {list-style-type:lower-roman;}
ol ol ol ol ol ol ol {list-style-type:decimal;}

.txtOptionInput {width:11em;}

#contentWrapper .chkOptionInput {border:0;}

.externalLink {text-decoration:underline;}

.indent {margin-left:3em;}
.outdent {margin-left:3em; text-indent:-3em;}
code.escaped {white-space:nowrap;}

.tiddlyLinkExisting {font-weight:bold;}
.tiddlyLinkNonExisting {font-style:italic;}

/* the 'a' is required for IE, otherwise it renders the whole tiddler in bold */
a.tiddlyLinkNonExisting.shadow {font-weight:bold;}

#mainMenu .tiddlyLinkExisting,
	#mainMenu .tiddlyLinkNonExisting,
	#sidebarTabs .tiddlyLinkNonExisting {font-weight:normal; font-style:normal;}
#sidebarTabs .tiddlyLinkExisting {font-weight:bold; font-style:normal;}

.header {position:relative;}
.header a:hover {background:transparent;}
.headerShadow {position:relative; padding:4.5em 0 1em 1em; left:-1px; top:-1px;}
.headerForeground {position:absolute; padding:4.5em 0 1em 1em; left:0; top:0;}

.siteTitle {font-size:3em;}
.siteSubtitle {font-size:1.2em;}

#mainMenu {position:absolute; left:0; width:10em; text-align:right; line-height:1.6em; padding:1.5em 0.5em 0.5em 0.5em; font-size:1.1em;}

#sidebar {position:absolute; right:3px; width:16em; font-size:.9em;}
#sidebarOptions {padding-top:0.3em;}
#sidebarOptions a {margin:0 0.2em; padding:0.2em 0.3em; display:block;}
#sidebarOptions input {margin:0.4em 0.5em;}
#sidebarOptions .sliderPanel {margin-left:1em; padding:0.5em; font-size:.85em;}
#sidebarOptions .sliderPanel a {font-weight:bold; display:inline; padding:0;}
#sidebarOptions .sliderPanel input {margin:0 0 0.3em 0;}
#sidebarTabs .tabContents {width:15em; overflow:hidden;}

.wizard {padding:0.1em 1em 0 2em;}
.wizard h1 {font-size:2em; font-weight:bold; background:none; padding:0; margin:0.4em 0 0.2em;}
.wizard h2 {font-size:1.2em; font-weight:bold; background:none; padding:0; margin:0.4em 0 0.2em;}
.wizardStep {padding:1em 1em 1em 1em;}
.wizard .button {margin:0.5em 0 0; font-size:1.2em;}
.wizardFooter {padding:0.8em 0.4em 0.8em 0;}
.wizardFooter .status {padding:0 0.4em; margin-left:1em;}
.wizard .button {padding:0.1em 0.2em;}

#messageArea {position:fixed; top:2em; right:0; margin:0.5em; padding:0.5em; z-index:2000; _position:absolute;}
.messageToolbar {display:block; text-align:right; padding:0.2em;}
#messageArea a {text-decoration:underline;}

.tiddlerPopupButton {padding:0.2em;}
.popupTiddler {position: absolute; z-index:300; padding:1em; margin:0;}

.popup {position:absolute; z-index:300; font-size:.9em; padding:0; list-style:none; margin:0;}
.popup .popupMessage {padding:0.4em;}
.popup hr {display:block; height:1px; width:auto; padding:0; margin:0.2em 0;}
.popup li.disabled {padding:0.4em;}
.popup li a {display:block; padding:0.4em; font-weight:normal; cursor:pointer;}
.listBreak {font-size:1px; line-height:1px;}
.listBreak div {margin:2px 0;}

.tabset {padding:1em 0 0 0.5em;}
.tab {margin:0 0 0 0.25em; padding:2px;}
.tabContents {padding:0.5em;}
.tabContents ul, .tabContents ol {margin:0; padding:0;}
.txtMainTab .tabContents li {list-style:none;}
.tabContents li.listLink { margin-left:.75em;}

#contentWrapper {display:block;}
#splashScreen {display:none;}

#displayArea {margin:1em 17em 0 14em;}

.toolbar {text-align:right; font-size:.9em;}

.tiddler {padding:1em 1em 0;}

.missing .viewer,.missing .title {font-style:italic;}

.title {font-size:1.6em; font-weight:bold;}

.missing .subtitle {display:none;}
.subtitle {font-size:1.1em;}

.tiddler .button {padding:0.2em 0.4em;}

.tagging {margin:0.5em 0.5em 0.5em 0; float:left; display:none;}
.isTag .tagging {display:block;}
.tagged {margin:0.5em; float:right;}
.tagging, .tagged {font-size:0.9em; padding:0.25em;}
.tagging ul, .tagged ul {list-style:none; margin:0.25em; padding:0;}
.tagClear {clear:both;}

.footer {font-size:.9em;}
.footer li {display:inline;}

.annotation {padding:0.5em; margin:0.5em;}

* html .viewer pre {width:99%; padding:0 0 1em 0;}
.viewer {line-height:1.4em; padding-top:0.5em;}
.viewer .button {margin:0 0.25em; padding:0 0.25em;}
.viewer blockquote {line-height:1.5em; padding-left:0.8em;margin-left:2.5em;}
.viewer ul, .viewer ol {margin-left:0.5em; padding-left:1.5em;}

.viewer table, table.twtable {border-collapse:collapse; margin:0.8em 1.0em;}
.viewer th, .viewer td, .viewer tr,.viewer caption,.twtable th, .twtable td, .twtable tr,.twtable caption {padding:3px;}
table.listView {font-size:0.85em; margin:0.8em 1.0em;}
table.listView th, table.listView td, table.listView tr {padding:0 3px 0 3px;}

.viewer pre {padding:0.5em; margin-left:0.5em; font-size:1.2em; line-height:1.4em; overflow:auto;}
.viewer code {font-size:1.2em; line-height:1.4em;}

.editor {font-size:1.1em;}
.editor input, .editor textarea {display:block; width:100%; font:inherit;}
.editorFooter {padding:0.25em 0; font-size:.9em;}
.editorFooter .button {padding-top:0; padding-bottom:0;}

.fieldsetFix {border:0; padding:0; margin:1px 0px;}

.zoomer {font-size:1.1em; position:absolute; overflow:hidden;}
.zoomer div {padding:1em;}

* html #backstage {width:99%;}
* html #backstageArea {width:99%;}
#backstageArea {display:none; position:relative; overflow: hidden; z-index:150; padding:0.3em 0.5em;}
#backstageToolbar {position:relative;}
#backstageArea a {font-weight:bold; margin-left:0.5em; padding:0.3em 0.5em;}
#backstageButton {display:none; position:absolute; z-index:175; top:0; right:0;}
#backstageButton a {padding:0.1em 0.4em; margin:0.1em;}
#backstage {position:relative; width:100%; z-index:50;}
#backstagePanel {display:none; z-index:100; position:absolute; width:90%; margin-left:3em; padding:1em;}
.backstagePanelFooter {padding-top:0.2em; float:right;}
.backstagePanelFooter a {padding:0.2em 0.4em;}
#backstageCloak {display:none; z-index:20; position:absolute; width:100%; height:100px;}

.whenBackstage {display:none;}
.backstageVisible .whenBackstage {display:block;}
StyleSheet for use when a translation requires any css style changes.
This StyleSheet can be used directly by languages such as Chinese, Japanese and Korean which need larger font sizes.
body {font-size:0.8em;}
#sidebarOptions {font-size:1.05em;}
#sidebarOptions a {font-style:normal;}
#sidebarOptions .sliderPanel {font-size:0.95em;}
.subtitle {font-size:0.8em;}
.viewer table.listView {font-size:0.95em;}
@media print {
#mainMenu, #sidebar, #messageArea, .toolbar, #backstageButton, #backstageArea {display: none !important;}
#displayArea {margin: 1em 1em 0em;}
noscript {display:none;} /* Fixes a feature in Firefox where print preview displays the noscript content */
<div class='toolbar' role='navigation' macro='toolbar [[ToolbarCommands::ViewToolbar]]'></div>
<div class='title' macro='view title'></div>
<div class='subtitle'><span macro='view modifier link'></span>, <span macro='view modified date'></span> (<span macro='message views.wikified.createdPrompt'></span> <span macro='view created date'></span>)</div>
<div class='tagging' macro='tagging'></div>
<div class='tagged' macro='tags'></div>
<div class='viewer' macro='view text wikified'></div>
<div class='tagClear'></div>
<html><center>This Wiki is [img[IMG/undercon.gif]]Under HEAVY Construction</center></html>
<iframe style="background-color:#ffffff; border-color:#ffffff; border:none;" width="113" height="151" frameborder="0" scrolling="no" src="" title="Kabuto Badge"></iframe>
This wiki is about collecting Japanese Samurai Related Antiques. ''It replaces the old "Arts of the Samurai web"''.
It focuses on Kabuto, Jingasa and Mempo. From time to time examples of yoroi, katana, wakizashi, koshirae, jinbaori, tsuba and other samurai related objects will be shown and discussed.
Some items are for sale: please mail to: info at artsofthesamurai dot com if you are interested

[[Samurai Helmets (Kabuto)|Kabuto]]
Maybe the most important and priced part of a complete yoroi is the kabuto. A number of quality kabuto (helmets) are displayed. Hoshi, Suji, Namban and some Kawari Kabuto.

[[''Samurai Masks (Mempo, Menpo)''|Menpo]]
An important and very expressive part of the armor is the face mask. Menpo or Mempo with yodare kake (throat protector). They can be found in many forms: wrinkled or smooth cheeks, noses in many forms, some have mustaches or imperials and are lacquered or in russet iron finish.

''War Hats (Jingasa)''
Jingasa (samurai hats) were mainly used during the mid to late Edo Period (1700-1860). The word "Kasa" meaning hat and "Jin" military.

[[''W.R.B. Acker - Kyudo Page''|Kyudo]]
[[The Fundamentals of Japanese Archery Book download | acker1.pdf]]

[[''Lone Wolf and Cub''|Lone Wolf]]
Wrongfully accused of plotting to overthrow the Shogun, Itto Ogami (拝一刀) - master of the Suio Ryu - becomes an outlaw, wandering through the provinces of feudal Japan with his infant son Daigoro by his side, seeking vengeance for the murder of his wife and family.
Armor Kanji

|Kabuto|兜|Katazuri no ita|肩摺板|Kobire|小鰭|Kote|籠手|Kusazuri|草摺|Kuwagata|鍬形|
|Mabizashi|眉庇|Maedate|前立|Mengu|面具|Mune ita|胸板|Nodowa|喉輪|Shikoro|革毎|
|Sode|袖|Suneate|臑当|Tateage|立挙|Tateagesuneate|立挙臑当|Waki ita|脇板|Watagami|肩上|
|O Yoroi|大鎧|Haramaki|腹巻|Domaru|胴丸|Kebiki odoshi|毛引威|Nanban do|南蛮胴|Tatami gusoku|畳具足|

Background: #fff
Foreground: #000
PrimaryPale: #38c
PrimaryLight: #000033
PrimaryMid: #000033
PrimaryDark: #026
SecondaryPale: #ffc
SecondaryLight: #fe8
SecondaryMid: #db4
SecondaryDark: #841
TertiaryPale: #eee
TertiaryLight: #ccc
TertiaryMid: #999
TertiaryDark: #666
QuaternaryPale: #cf8
QuaternaryLight: #8f1
QuaternaryMid: #4b0
QuaternaryDark: #140
Error: #f88
|Author|Eric Shulman|
|Description|embed wiki syntax formatting inside of HTML content|
The ~HTMLFormatting plugin allows you to ''mix wiki-style formatting syntax within HTML formatted content'' by extending the action of the standard TiddlyWiki formatting handler.
>see [[HTMLFormattingPluginInfo]]
Use {{{<hide linebreaks>}}} within HTML content to wiki-style rendering of line breaks.  To //always// omit all line breaks from the rendered output, you can set this option:
><<option chkHTMLHideLinebreaks>> ignore all line breaks
which can also be 'hard coded' into your document by adding the following to a tiddler, tagged with <<tag systemConfig>>
2010.05.07 2.4.1 added chkHTMLHideLinebreaks option
| see [[HTMLFormattingPluginInfo]] for additional revision details |
2005.06.26 1.0.0 Initial Release (as code adaptation - pre-dates TiddlyWiki plugin architecture!!)
version.extensions.HTMLFormattingPlugin= {major: 2, minor: 4, revision: 1, date: new Date(2010,5,7)};

// find the formatter for HTML and replace the handler
function initHTMLFormatter()
	for (var i=0; i<config.formatters.length && config.formatters[i].name!="html"; i++);
	if (i<config.formatters.length)	config.formatters[i].handler=function(w) {
		if (!this.lookaheadRegExp)  // fixup for TW2.0.x
			this.lookaheadRegExp = new RegExp(this.lookahead,"mg");
		this.lookaheadRegExp.lastIndex = w.matchStart;
		var lookaheadMatch = this.lookaheadRegExp.exec(w.source)
		if(lookaheadMatch && lookaheadMatch.index == w.matchStart) {
			var html=lookaheadMatch[1];
			// if <nowiki> is present, just let browser handle it!
			if (html.indexOf('<nowiki>')!=-1)
			else {
				// if <hide linebreaks> is present, or chkHTMLHideLinebreaks is set
				// suppress wiki-style literal handling of newlines
				if (config.options.chkHTMLHideLinebreaks||(html.indexOf('<hide linebreaks>')!=-1))
					html=html.replace(/\n/g,' ');
				// remove all \r's added by IE textarea and mask newlines and macro brackets
				// create span, let browser parse HTML
				var e=createTiddlyElement(w.output,"span"); e.innerHTML=html;
				// then re-render text nodes as wiki-formatted content
			w.nextMatch = this.lookaheadRegExp.lastIndex; // continue parsing

// wikify #text nodes that remain after HTML content is processed (pre-order recursion)
function wikifyTextNodes(theNode,w)
	function unmask(s) { return s.replace(/\%%\(/g,'<<').replace(/\)\%%/g,'>>').replace(/\\n/g,'\n'); }
	switch (theNode.nodeName.toLowerCase()) {
		case 'style': case 'option': case 'select':
		case 'textarea':
		case '#text':
			var txt=unmask(theNode.nodeValue);
			var newNode=createTiddlyElement(null,"span");
			for (var i=0;i<theNode.childNodes.length;i++)
				wikifyTextNodes(theNode.childNodes.item(i),w); // recursion
|Author|Eric Shulman|
|Description|documentation for HTMLFormattingPlugin|
The ~HTMLFormatting plugin allows you to freely ''mix wiki-style formatting syntax within HTML formatted content'' by extending the action of the standard TiddlyWiki formatting handler.
The shorthand Wiki-style formatting syntax of ~TiddlyWiki is very convenient and enables most content to be reasonably well presented. However, there are times when tried-and-true HTML formatting syntax allows more more precise control of the content display.

When a tiddler is about to be displayed, ~TiddlyWiki looks for tiddler content contained within {{{<html>}}} and {{{</html>}}} markers.  When present, the TiddlyWiki core simply passes this content directly to the browser's internal "rendering engine" to process as ~HTML-formatted content.  However, TiddlyWiki does not also process the HTML source content for any embedded wiki-formatting syntax it may contain.  This means that while you can use HTML formatted content, you cannot mix wiki-formatted content within the HTML formatting.

This plugin extends the TiddlyWiki core processing so that, after the HTML formatting has been processed, all the pieces of text occuring within the HTML block are then processed one piece at a time, so that normal wiki-style formatting can be applied to the individual text pieces.

Note: To bypass this extended processing for a specific section of HTML content, embed ''{{{<nowiki>}}}'' //anywhere// inside the {{{<html>...</html>}}} delimiters, and wiki formatting will not be applied to that content.
!!!!!Line breaks
One major difference between Wiki formatting and HTML formatting is how "line breaks" are processed. Wiki formatting treats all line breaks as literal content to be displayed //as-is//. However, because HTML normally ignores line breaks and actually processes them as simple "word separators" instead, many people who write HTML include extra line breaks in their documents, just to make the "source code" easier to read.

Even though you can use HTML tags within your tiddler content, the default treatment for line breaks still follows the Wiki-style rule (i.e., all new lines are displayed as-is). When adding HTML content to a tiddler (especially if you cut-and-paste it from another web page), you should take care to avoid adding extra line breaks to the text.

If removing all the extra line breaks from your HTML content would be a big hassle, you can quickly //override the default Wiki-style line break rule// so that the line breaks use the standard HTML rules, by placing ''{{{<hide linebreaks>}}}'' //anywhere// within the HTML content.  This automatically converts all line breaks to spaces before rendering the content, so that the literal line breaks will be processed as simple word-breaks instead.

Alternatively, if you //always// want to omit all line breaks from the rendered output, you can set this option:
><<option chkHTMLHideLinebreaks>> ignore all line breaks
which can also be 'hard coded' into your document by adding the following to a tiddler, tagged with <<tag systemConfig>>

Note: this does //not// alter the actual tiddler content that is stored in the document, just the manner in which it is displayed. Any line breaks contained in the tiddler will still be there when you edit its content. Also, to include a literal line break when the ''<{{{hide linebreaks}}}>'' tag is present, you will need to use a ''<{{{br}}}>'' or ''<{{{p}}}>'' HTML tag instead of simply typing a line break.
!!!!!How it works
The TW core support for HTML does not let you put ANY wiki-style syntax (including TW macros) *inside* the {{{<html>...</html>}}} block.  Everything between {{{<html>}}} and {{{</html>}}} is handed to the browser for processing and that is it.

However, not all wiki syntax can be safely passed through the browser's parser. Specifically, any TW macros inside the HTML will get 'eaten' by the browser since the macro brackets, {{{<<...>>}}} use the "<" and ">" that normally delimit the HTML/XML syntax recognized by the browser's parser.

Similarly, you can't use InlineJavascript within the HTML because the {{{<script>...</script>}}} syntax will also be consumed by the browser and there will be nothing left to process afterward.  Note: unfortunately, even though the browser removes the {{{<script>...</script>}}} sequence, it doesn't actually execute the embedded javascript code that it removes, so any scripts contained inside of <html> blocks in TW are currently being ignored. :-(

As a work-around to allow TW *macros* (but not inline scripts) to exist inside of <html> formatted blocks of content, the plugin first converts the {{{<<}}} and {{{>>}}} into "%%(" and ")%%", making them "indigestible" so they can pass unchanged through the belly of the beast (the browser's HTML parser).

After the browser has done its job, the wiki syntax sequences (including the "undigested" macros) are contained in #text nodes in the browser-generated DOM elements.  The plugin then recursively locates and processes each #text node, converts the %%( and )%% back into {{{<<}}} and {{{>>}}}, passes the result to wikify() for further rendering of the wiki-formatted syntax into a containing SPAN that replaces the previous #text node.  At the end of this process, none of the encoded %%( and )%% sequences remain in the rendered tiddler output.
2010.05.07 2.4.1 added chkHTMLHideLinebreaks option
2009.01.05 2.4.0 in wikifyTextNodes(), pass w.highlightRegExp and w.tiddler to wikify() so that search term highlighting and tiddler-relative macro processing will work
2008.10.02 2.3.0 added use of {{{<nowiki>}}} marker to bypass all wikification inside a specific HTML block
2008.09.19 2.2.0 in wikifyTextNodes(), don't wikify the contents of STYLE nodes (thanks to MorrisGray for bug report)
2008.04.26 [*.*.*] plugin size reduction: more documentation moved to HTMLFormattingInfo
2008.01.08 [*.*.*] plugin size reduction: documentation moved to HTMLFormattingInfo
2007.12.04 [*.*.*] update for TW2.3.0: replaced deprecated core functions, regexps, and macros
2007.06.14 2.1.5 in formatter, removed call to e.normalize().  Creates an INFINITE RECURSION error in Safari!!!!
2006.09.10 2.1.4 update formatter for 2.1 compatibility (use this.lookaheadRegExp instead of temp variable)
2006.05.28 2.1.3 in wikifyTextNodes(), decode the *value* of TEXTAREA nodes, but don't wikify() its children.  (thanks to "ayj" for bug report)
2006.02.19 2.1.2 in wikifyTextNodes(), put SPAN element into tiddler DOM (replacing text node), BEFORE wikifying the text content.  This ensures that the 'place' pasced to any macros is correctly defined when the macro is evaluated, so that calls to story.findContainingTiddler(place) will work as expected. (Thanks for bug report from GeoffSlocock)
2006.02.05 2.1.1 wrapped wikifier hijack in init function to eliminate globals and avoid FireFox crash bug when referencing globals
2005.12.01 2.1.0 don't wikify #TEXT nodes inside SELECT and TEXTAREA elements
2005.11.06 2.0.1 code cleanup
2005.10.31 2.0.  replaced hijack wikify() with hijack config.formatters["html"] and simplified recursive WikifyTextNodes() code
2005.10.09 1.0.2 combined documentation and code into a single tiddleb
2005.08.05 1.0.1 moved HTML and CSS definitions into plugin code instead of using separate tiddlers
2005.07.26 1.0.1 Re-released as a plugin. Added <{{{html}}}>...</{{{nohtml}}}> and <{{{hide newlines}}}> handling
2005.06.26 1.0.0 Initial Release (as code adaptation - pre-dates TiddlyWiki plugin architecture!!)
|''Version:''|1.0.1 (2007-04-30)|
|''Author:''|Udo Borkowski (ub [at] abego-software [dot] de)|
|''Documentation:''|[[IncludePlugin Documentation|]]|
|''Community:''|([[|]]) ([[Support|]])|
|''Copyright:''|&copy; 2007 [[abego Software|]]|
|''Licence:''|[[BSD open source license (abego Software)|]]|
|''Browser:''|Firefox or better; Internet Explorer 6.0|
!Revision history
//The IncludePlugin is no longer in active development. If you are experiencing problems or looking for some additional features you may want have a look at the  [[SharedTiddlersPlugin|]].//
* 1.0.1 (2007-04-30)
** Make ForEachTiddler "Include-aware"
* 1.0.0 (2007-02-08) 
** initial version
!Source Code
This plugin's source code is compressed (and hidden). Use this [[link|]] to get the readable source code.
if(!window.abego){window.abego={};}var invokeLater=function(_1,_2,_3){return abego.invokeLater?abego.invokeLater(_1,_2,_3):setTimeout(_1,_2);};abego.loadFile=function(_4,_5,_6){var _7=function(_8,_9,_a,_b,_c){return _8?_5(_a,_b,_9):_5(undefined,_b,_9,"Error loading %0".format([_b]));};if(^((http(s)?)|(file)):/)!=0){if(^((.\:\\)|(\\\\)|(\/))/)==0){_4="file://"+_4;}else{var _d=document.location.toString();var i=_d.lastIndexOf("/");_4=_d.substr(0,i+1)+_4;}_4=_4.replace(/\\/mg,"/");}loadRemoteFile(_4,_7,_6);};abego.loadTiddlyWikiStore=function(_f,_10,_11,_12){var _13=function(_14,_15){if(_12){_12(_14,"abego.loadTiddlyWikiStore",_15,_f,_11);}};var _16=function(_17,_18){var _19=_18.indexOf(startSaveArea);var _1a=_18.indexOf("<!--POST-BODY-END--"+">");var _1b=_18.lastIndexOf(endSaveArea,_1a==-1?_18.length:_1a);if((_19==-1)||(_1b==-1)){return config.messages.invalidFileError.format([_f]);}var _1c="<html><body>"+_18.substring(_19,_1b+endSaveArea.length)+"</body></html>";var _1d=document.createElement("iframe");"none";document.body.appendChild(_1d);var doc=_1d.document;if(_1d.contentDocument){doc=_1d.contentDocument;}else{if(_1d.contentWindow){doc=_1d.contentWindow.document;}};doc.writeln(_1c);doc.close();var _1f=doc.getElementById("storeArea");_17.loadFromDiv(_1f,"store");_1d.parentNode.removeChild(_1d);return null;};var _20=function(_21){_13("Error when loading %0".format([_f]),"Failed");_10(undefined,_f,_11,_21);return _21;};var _22=function(_23){_13("Loaded %0".format([_f]),"Done");_10(_23,_f,_11);return null;};var _24=function(_25,_26,_27,_28){if(_25===undefined){_20(_28);return;}_13("Processing %0".format([_f]),"Processing");var _29=config.messages.invalidFileError;config.messages.invalidFileError="The file '%0' does not appear to be a valid TiddlyWiki file";try{var _2a=new TiddlyWiki();var _2b=_16(_2a,_25);if(_2b){_20(_2b);}else{_22(_2a);}}catch(ex){_20(exceptionText(ex));}finally{config.messages.invalidFileError=_29;}};_13("Start loading %0".format([_f]),"Started");abego.loadFile(_f,_24,_11);};(function(){if(abego.TiddlyWikiIncluder){return;}var _2c="waiting";var _2d="loading";var _2e=1000;var _2f=-200;var _30=-100;var _31=-300;var _32;var _33=[];var _34={};var _35=[];var _36;var _37=[];var _38;var _39=function(){if(_32===undefined){_32=config.options.chkUseInclude===undefined||config.options.chkUseInclude;}return _32;};var _3a=function(url){return "No include specified for %0".format([url]);};var _3c=function(){var _3d=_35;_35=[];if(_3d.length){for(var i=0;i<_37.length;i++){_37[i](_3d);}}};var _3f;var _40=function(){if(_36!==undefined){clearInterval(_36);}_3f=0;var _41=function(){abego.TiddlyWikiIncluder.sendProgress("","","Done");};_36=setInterval(function(){_3f++;if(_3f<=10){return;}clearInterval(_36);_36=undefined;abego.TiddlyWikiIncluder.sendProgress("Refreshing...","","");refreshDisplay();invokeLater(_41,0,_2f);},1);};var _42=function(_43){var _44;for(var i=0;i<_33.length;i++){var _46=abego.TiddlyWikiIncluder.getStore(_33[i]);if(_46&&(_44=_43(_46,_33[i]))){return _44;}}};var _47=function(){if(!{return invokeLater(_47,100);}var _48=store.fetchTiddler;store.fetchTiddler=function(_49){var t=_48.apply(this,arguments);if(t){return t;}if(config.shadowTiddlers[_49]!==undefined){return undefined;}if(_49==config.macros.newTiddler.title){return undefined;}return _42(function(_4b,url){var t=_4b.fetchTiddler(_49);if(t){t.includeURL=url;}return t;});};if(_33.length){_40();}};var _4e=function(){if(!{return invokeLater(_4e,100);}var _4f=store.getTiddlerText("IncludeList");if(_4f){wikify(_4f,document.createElement("div"));}};var _50=function(_51){var _52=function(){var _53=store.forEachTiddler;var _54=function(_55){var _56={};var _57;var _58=function(_59,_5a){if(_56[_59]){return;}_56[_59]=1;if(_57){_5a.includeURL=_57;}_55.apply(this,arguments);};,_58);for(var n in config.shadowTiddlers){_56[n]=1;}_56[config.macros.newTiddler.title]=1;_42(function(_5c,url){_57=url;_5c.forEachTiddler(_58);});};store.forEachTiddler=_54;try{return _51.apply(this,arguments);}finally{store.forEachTiddler=_53;}};return _52;};var _5e=function(_5f,_60){return _5f[_60]=_50(_5f[_60]);};abego.TiddlyWikiIncluder={};abego.TiddlyWikiIncluder.setProgressFunction=function(_61){_38=_61;};abego.TiddlyWikiIncluder.getProgressFunction=function(_62){return _38;};abego.TiddlyWikiIncluder.sendProgress=function(_63,_64,_65){if(_38){_38.apply(this,arguments);}};abego.TiddlyWikiIncluder.onError=function(url,_67){displayMessage("Error when including '%0':\n%1".format([url,_67]));};abego.TiddlyWikiIncluder.hasPendingIncludes=function(){for(var i=0;i<_33.length;i++){var _69=abego.TiddlyWikiIncluder.getState(_33[i]);if(_69==_2c||_69==_2d){return true;}}return false;};abego.TiddlyWikiIncluder.getIncludes=function(){return _33.slice();};abego.TiddlyWikiIncluder.getState=function(url){var s=_34[url];if(!s){return _3a(url);}return typeof s=="string"?s:null;};abego.TiddlyWikiIncluder.getStore=function(url){var s=_34[url];if(!s){return _3a(url);}return s instanceof TiddlyWiki?s:null;};abego.TiddlyWikiIncluder.include=function(url,_6f){if(!_39()||_34[url]){return;}var _70=this;_33.push(url);_34[url]=_2c;var _71=function(_72,_73,_74,_75){if(_72===undefined){_34[url]=_75;_70.onError(url,_75);return;}_34[url]=_72;_35.push(url);invokeLater(_3c);};var _76=function(){_34[url]=_2d;abego.loadTiddlyWikiStore(url,_71,null,_38);};if(_6f){invokeLater(_76,_6f);}else{_76();}};abego.TiddlyWikiIncluder.forReallyEachTiddler=function(_77){var _78=function(){store.forEachTiddler(_77);};_50(_78).call(store);};abego.TiddlyWikiIncluder.getFunctionUsingForReallyEachTiddler=_50;abego.TiddlyWikiIncluder.useForReallyEachTiddler=_5e;abego.TiddlyWikiIncluder.addListener=function(_79){_37.push(_79);};abego.TiddlyWikiIncluder.addListener(_40);if(config.options.chkUseInclude===undefined){config.options.chkUseInclude=true;}config.shadowTiddlers.AdvancedOptions+="\n<<option chkUseInclude>> Include ~TiddlyWikis (IncludeList | IncludeState | [[help|]])\n^^(Reload this ~TiddlyWiki to make changes become effective)^^";config.shadowTiddlers.IncludeState="<<includeState>>";var _7a=function(e,_7c,_7d){if(!anim||!abego.ShowAnimation){"block":"none";return;}anim.startAnimating(new abego.ShowAnimation(e,_7c,_7d));};abego.TiddlyWikiIncluder.getDefaultProgressFunction=function(){setStylesheet(".includeProgressState{\n"+"background-color:#FFCC00;\n"+"position:absolute;\n"+"right:0.2em;\n"+"top:0.2em;\n"+"width:7em;\n"+"padding-left:0.2em;\n"+"padding-right:0.2em\n"+"}\n","abegoInclude");var _7e=function(){var e=document.createElement("div");e.className="includeProgressState";"none";document.body.appendChild(e);return e;};var _80=_7e();var _81=function(_82){removeChildren(_80);createTiddlyText(_80,_82);_7a(_80,true,0);};var _83=function(){invokeLater(function(){_7a(_80,false,_2e);},100,_30);};var _84=function(_85,_86,_87,url,_89){if(_87=="Done"||_87=="Failed"){_83();return;}if(_86=="abego.loadTiddlyWikiStore"){_3f=0;if(_87=="Processing"){_81("Including...");}}else{_81(_85);}};return _84;};abego.TiddlyWikiIncluder.setProgressFunction(abego.TiddlyWikiIncluder.getDefaultProgressFunction());config.macros.include={};config.macros.include.handler=function(_8a,_8b,_8c,_8d,_8e,_8f){_8c=_8e.parseParams("url",null,true,false,true);var _90=parseInt(getParam(_8c,"delay","0"));var _91=_8c[0]["url"];var _92=getFlag(_8c,"hide",false);if(!_92){createTiddlyText(createTiddlyElement(_8a,"code"),_8d.source.substring(_8d.matchStart,_8d.nextMatch));}for(var i=0;_91&&i<_91.length;i++){abego.TiddlyWikiIncluder.include(_91[i],_90);}};config.macros.includeState={};config.macros.includeState.handler=function(_94,_95,_96,_97,_98,_99){var _9a=function(){var s="";var _9c=abego.TiddlyWikiIncluder.getIncludes();if(!_9c.length){return "{{noIncludes{\nNo includes or 'include' is disabled (see AdvancedOptions)\n}}}\n";}s+="|!Address|!State|\n";for(var i=0;i<_9c.length;i++){var inc=_9c[i];s+="|{{{"+inc+"}}}|";var t=abego.TiddlyWikiIncluder.getState(inc);s+=t?"{{{"+t+"}}}":"included";s+="|\n";}s+="|includeState|k\n";return s;};var _a0=function(){removeChildren(div);wikify(_9a(),div);if(abego.TiddlyWikiIncluder.hasPendingIncludes()){invokeLater(_a0,500,_31);}};var div=createTiddlyElement(_94,"div");invokeLater(_a0,0,_31);};var _a2=Tiddler.prototype.isReadOnly;Tiddler.prototype.isReadOnly=function(){return _a2.apply(this,arguments)||this.isIncluded();};Tiddler.prototype.isIncluded=function(){return this.includeURL!=undefined;};Tiddler.prototype.getIncludeURL=function(){return this.includeURL;};var _a3={getMissingLinks:1,getOrphans:1,getTags:1,reverseLookup:1,updateTiddlers:1};for(var n in _a3){_5e(TiddlyWiki.prototype,n);}var _a5=function(){if(abego.IntelliTagger){_5e(abego.IntelliTagger,"assistTagging");}};var _a6=function(){if(config.macros.forEachTiddler){_5e(config.macros.forEachTiddler,"findTiddlers");}};_47();invokeLater(_4e,100);invokeLater(_a5,100);invokeLater(_a6,100);})();
|Author|Eric Shulman|
|Description|Insert Javascript executable code directly into your tiddler content.|
''Call directly into TW core utility routines, define new functions, calculate values, add dynamically-generated TiddlyWiki-formatted output'' into tiddler content, or perform any other programmatic actions each time the tiddler is rendered.
>see [[InlineJavascriptPluginInfo]]
2010.12.15 1.9.6 allow (but ignore) type="..." syntax
|please see [[InlineJavascriptPluginInfo]] for additional revision details|
2005.11.08 1.0.0 initial release
version.extensions.InlineJavascriptPlugin= {major: 1, minor: 9, revision: 6, date: new Date(2010,12,15)};

config.formatters.push( {
	name: "inlineJavascript",
	match: "\\<script",
	lookahead: "\\<script(?: type=\\\"[^\\\"]*\\\")?(?: src=\\\"([^\\\"]*)\\\")?(?: label=\\\"([^\\\"]*)\\\")?(?: title=\\\"([^\\\"]*)\\\")?(?: key=\\\"([^\\\"]*)\\\")?( show)?\\>((?:.|\\n)*?)\\</script\\>",
	handler: function(w) {
		var lookaheadRegExp = new RegExp(this.lookahead,"mg");
		lookaheadRegExp.lastIndex = w.matchStart;
		var lookaheadMatch = lookaheadRegExp.exec(w.source)
		if(lookaheadMatch && lookaheadMatch.index == w.matchStart) {
			var src=lookaheadMatch[1];
			var label=lookaheadMatch[2];
			var tip=lookaheadMatch[3];
			var key=lookaheadMatch[4];
			var show=lookaheadMatch[5];
			var code=lookaheadMatch[6];
			if (src) { // external script library
				var script = document.createElement("script"); script.src = src;
				document.body.appendChild(script); document.body.removeChild(script);
			if (code) { // inline code
				if (show) // display source in tiddler
				if (label) { // create 'onclick' command link
					var link=createTiddlyElement(w.output,"a",null,"tiddlyLinkExisting",wikifyPlainText(label));
					var fixup=code.replace(/document.write\s*\(/gi,'place.bufferedHTML+=(');
					link.code="function _out(place,tiddler){"+fixup+"\n};_out(this,this.tiddler);"
						try{ var r=eval(this.code);
							if(this.bufferedHTML.length || (typeof(r)==="string")&&r.length)
								var s=this.parentNode.insertBefore(document.createElement("span"),this.nextSibling);
							if((typeof(r)==="string")&&r.length) {
								return false;
							} else return r!==undefined?r:false;
						} catch(e){alert(e.description||e.toString());return false;}
					var URIcode='javascript:void(eval(decodeURIComponent(%22(function(){try{';
					URIcode+=encodeURIComponent(encodeURIComponent(code.replace(/\n/g,' ')));
					if (key) link.accessKey=key.substr(0,1); // single character only
				else { // run script immediately
					var fixup=code.replace(/document.write\s*\(/gi,'place.innerHTML+=(');
					var c="function _out(place,tiddler){"+fixup+"\n};_out(w.output,w.tiddler);";
					try	 { var out=eval(c); }
					catch(e) { out=e.description?e.description:e.toString(); }
					if (out && out.length) wikify(out,w.output,w.highlightRegExp,w.tiddler);
			w.nextMatch = lookaheadMatch.index + lookaheadMatch[0].length;
} )

// // Backward-compatibility for TW2.1.x and earlier
if (typeof(wikifyPlainText)=="undefined") window.wikifyPlainText=function(text,limit,tiddler) {
	if(limit > 0) text = text.substr(0,limit);
	var wikifier = new Wikifier(text,formatter,null,tiddler);
	return wikifier.wikifyPlain();

// // GLOBAL FUNCTION: $(...) -- 'shorthand' convenience syntax for document.getElementById()
if (typeof($)=='undefined') { function $(id) { return document.getElementById(id.replace(/^#/,'')); } }
This website with a collection of Japanese Samurai Related Antiques focuses on Kabuto, Jingasa and Mempo. It will show from time to time examples of Yoroi, katana, wakizashi, koshirae, jinbaori, tsuba and other samurai or Japanese military related objects.
Also available are a book on Kyudo -Japanese Archery- and Manga - Lone Wolf and Cub (known in Japan as Kozure Okami)
<strong>Samurai Masks (Mempo, Menpo)</strong>
An important and very expressive part of the armor is the face mask. Menpo or Mempo with yodare kake (throat protector). They can be found in many forms: wrinkled or smooth cheeks, noses in many forms, some have mustaches or imperials and are lacquered or in russet iron finish.

Samurai Swords (Katana, Wakizashi) 
Very spectacular and maybe the most dangerous piece of art in the world is the Japanese Sword. The katana (long sword) combined with the wakizashi (short sword) it forms the daisho.

Samurai Helmets (Kabuto)
Maybe the most important and priced part of a complete yoroi is the kabuto. A number of quality kabuto (helmets) are displayed. Hoshi, Suji, Namban and some Kawari Kabuto.

War Hats (Jingasa)
Jingasa (samurai hats) were mainly used during the mid to late Edo Period (1700-1860). The word "Kasa" meaning hat and "Jin" military.

W.R.B. Acker - Kyudo Page
The Fundamentals of Japanese Archery Book download!

Lone Wolf and Cub
Wrongfully accused of plotting to overthrow the Shogun, Itto Ogami (拝一刀) - master of the Suio Ryu - becomes an outlaw, wondering through the provinces of feudal Japan with his infant son Daigoro by his side, seeking vengeance for the murder of his wife and family.
''"Jingasa " Samurai Hats''

Jingasa were mainly used during the mid to late Edo Period (1700-1860). The word "Kasa" meaning hat and "Jin" military.

As the Edo period was a period of peace, Kabuto were used less and Jingasa became more popular. The function of the Jingasa was still the same as for Kabuto, but with less accent on protection against arrow or sword, but from rain or sunshine, and to give an accent on the other aspects of "Samurai's daily life in times of peace" like: Police duty, Hunting,  Riding  etc. next to showing the Samurai's social status:
A Daimyo was more likely to still wear armor and kabuto on official occasions, but most of the time a Jingasa would do (though this might be a "Golden Jingasa"). Use of Jingasa however was not restricted to samurai.

''Shapes of Jingasa''
Different types (forms) of Jingasa would also have different uses. Most clearly this can be seen in the Bajo-Gasa, (Riding Caps)
Usually these were high quality, because it was exceptional (and expensive) to be able to afford a horse (see Jingasa 01, 04, 09- 12 ).

''Ichimonji-gasa, (Straight Line)''
It would be impossible to ride on a horse, they could never be of use in any battle or brawl, and their only use would be while not moving too much .....(see Jingasa 02,05,06,08)

Another clearly defined shape is the ''conical type Toppai-gasa''
This form is known from the "regiments" armed with tanegashima (matchlock gun).

''Materials and structure of Jingasa''
Jingasa were made in iron, leather, paper, wood or bamboo. Almost always covered with some kind of lacquer in different colors, the principal color being black.  Maybe the social status could be read by color: gold for Daimyo, vermilion for the middle ranks and black for the lower ranking samurai. Even townsmen, craftsmen and farmers were allowed to wear Jingasa.

Jingasa are often decorated with a Mon ("Family" or maybe better "Aijirushi" or "Kinship" marks) Showing clan relations.
The inside is black or vermillion colored and sometimes gold specks are scattered on a black or red base.

Looking at some Jingasa, it almost seems impossible to be worn. Such a shallow top must have had a firm construction to attach to the head: this was done by placing a cushion "Zabuton" and "Ago himo", rings to fasten chin straps, on the inside. Sometimes there are secondary rings "Himo toshi" to add a textile neck guard.
Zabuton have different shapes: square, the form of rolls or triangular, as can be seen in some of the examples on this website.

The Bajo Gasa certainly must have been securely fastened. Riding at some speed on horseback with the upturned rim must have put strain on the Jingasa's straps.
''The Japanese Helmet (Kabuto) 兜''

The Kabuto (Japanese Helmet) is the crown upon the Samurai’s Armor. The pinnacle of technical and artistic skill and must be considered the central focus of the entire armor. Kabuto were considered of prime importance and thus the armorer lavished his greatest attentions upon it, much to the delight of today's discerning collectors.
Together with the Menpo (Face Armor) it forms the most recognizable and eye-catching feature of the Yoroi  (The full body and head protection of the Japanese warrior class).
Japanese history is a long one and one of the aspects is its military prowess.
On first sight and certainly in later Edo period examples of “Kawari Kabuto” it sounds impossible to apply the idea "form follows function" or sometimes to find any functionality at all in these helmets.

The natural progression of design from the eleventh century of Kabuto (Japanese Helmet) known as “Hoshi  Kabuto” (helmets with large, high standing, rivet heads), to a steady reduction in size of the rivets, to kabuto with rivets filed flat in the fifteenth century.

Early sixteenth century saw the introduction of multi plate helmets frequently referred to as “Suji - Bachi” (Multi-plate helmet of which the rivets are counter sunk, leaving the flanged edges of the plates prominent). “Suji” directly translates into English as, rib or flange.
[>img[IMG/03 Suji 62 Ken.jpg]]
These multi-plate helmets from the five plate head shaped “Zunari” to as many as two hundred plate helmets in the early seventeenth century that would have surely rocked the traditionalist’s boat, became in vogue.

No sooner had they do so than Kabuto adornment and fancy crests known as “Maedate” and horns known as “Kuwagata” appeared that caused a major stir on the battle field, and the race was on to see who could become the Samurai Funk of Fashion.

The seventeenth century was the golden era for the armorers that allowed free reign of design expression and every conceivable object, foreign influences "Namban Kabuto" and the Extraordinary "Kawari Kabuto" 

Particularly those auspicious from dragons to bats and conch shells attracted the eye of the armorer and our now ever receptive fashion conscious Samurai. There are certain theories regarding just how this fashion trend actually evolved non of which have actually been proven factual. Economics and the fact the Japanese Master craftsmen realized that their fine quality workmanship was walking advertising, soon listened to the undercurrent of chatter and with unquestionable certainty knew this market trend was going to become more in vogue.
It is sufficient to mention a general time line with some for “kabuto formation” important periods and main “change of battle styles”
Nara and Heian Periods 710-1192
Kamakura Period 1192-1333
Muromachi Period 1338-1573
Azuchi Momoyama Period 1573-1603
Edo Period 1603-1868

''Arms and Armor''
Initially the protection of armor was designed to be used in hand-to-hand combat and protection from a “stray” arrow and used mainly on horseback, but battle styles changed: on foot, mass battles, the introduction of new weapons (use of firearms) and later on armor was also used in times of peace. All this had its influence on development of armor and kabuto .

Kabuto were initially developed to protect against attack, but the unique history of Japan gave the artists (armorers) the opportunity to clearly show their technical and artistic skills.
For the bearer it was not only to protect his head, but also to identify him, to advertise his prowess on the battlefield, to show his social status and even his religious fervor.
The long period of peace (1603-1868), in which Japan “time froze in the middle ages” gave the kabuto the opportunity to migrate to a new function: Display and Fashion.
Japanese culture is unique in the way that it “forbid” the use of a supreme weapon (artillery and firearms) and thus allowed to further develop the form and use of traditional weapons and armor.

The diversity of styles of kabuto is so huge we can only take some general and well recognizable samples. Every style has its own details and sub styles.
To name a few of the important Kabuto styles:
Hoshi (helmet with knobs)
Suji (flanged helmet)
Zunari (head shaped helmet)
Momonari (peach shaped helmet)
Namban (foreign helmet)
Kawari (extra ordinary helmet)
Tatami Kabuto (folding helmet)

''Wearing the Kabuto''
Hold cords directly under both fukigaeshi (turn ups), placing your thumbs in the helmet and all fingers outside. Then lift the helmet above your head and put it on from behind, then pull it forwards .
Pulling the front loop of the helmet cord and place it under your chin . Put both ends of the cord through the metal rings in the helmet to fix the cords , then pull them upwards .
Pull them towards the ears and pass them through the other cords, which have been arranged inside the helmet .
Pull the cords downwards to tie under the chin .
Twist the ends of the already tied cords , and then tuck them between the “Menpo” (face mask).

''Wait for this Slideshow to start, next click on images to view information''
<iframe align="center" src="" frameBorder="0" width="500" height="500" scrolling="no"></iframe><br/>
''Hoshi kabuto''
Small or larger, overlapping plates are riveted together to form a bowl. The helmets are strong and heavy. The surface is usually in a russet iron finish, but maybe lacquered to look like russet iron. Hoshi can be large and small, depending on fashion and are sometimes decorated.
Tehen (center top of a helmet) is a logical development, because of the possibility to “neatly” fit the ends of the plates together; of course Japanese craftsmen would not be Japanese if they did not make something special out of it with the Tehen kanemono (decorative ornament). The Tehen is also called “iki dashi no ana” or “ventilation hole”, though the additional advantage of “air circulation” or the possibility of putting the samurai hair knot through it can be doubted.
[>img[IMG/06 Gold Hoshi.jpg]]
The Shikoro (lamellae) for neck protection is a great and unique addition to the helmet bowl and relatively comfortable because there was no limitation in movement. The Fukigaeshi (turn backs) where the top plate of the shikoro was folded back had many forms: from very large to small, decorated with leather or metal ornaments. Again the function of extra protection can be doubted. At the back of the helmet very often a ring (horotsuke no kwan) can be found, in old times used to fasten a cape or banner. Later in history to this ring the Agemaki bow (cord with tassels) was fastened to stop the ring form jingling…
Suji Kabuto

To reduce weight, hoshi were filed away, small flanges were left standing, both maybe as added protection and decoration. As with the Hoshi kabuto there is a large variation in the number of Ken (plates) used. Sometimes smaller Fukigaeshi were used, sometimes hinged, with the advantage to be able to shoot arrows or guns easier.
A large range of additions were in fashion: Maedate (front ornament), introduction of Wakidate (side ornaments), addition of Ushirodate (back ornament) maybe to take the place of the now obsolete Agemaki ring.
Tradition and new inventions always stayed side by side.
Zunari Kabuto

''Zunari (Head-shaped Helmet)'' and it’s derivates like the “hairy coverings”.
At the end of the 15th Century this style of kabuto started to be produced with cloth shikoro known as “Okashi gusoku”. Low cost armor lent to lower ranked foot soldiers that were generally using Yari as weapons. Enter the 16th Century and the Zunari received wide acclaim throughout Japan as a practical helmet that could be mass produced and even undergo a variety of minor alterations to suit the owners requirements, Hineno Shikoro, (close fitting neck guard) and multi-toned lacquer or other fittings for multiple Maedate.
Lacquered & Gilded Maedate and even Horns with hair are sometimes seen fitted to the side plates and rear of the lacquered Zunari helmets.

Within a very brief period the ever popular combination of wrinkled eye-brows with hair covered Zunari, wild boar or (Inoshishi), became generally the norm and does look rather striking with its ginger tones, course boar hair being easy to maintain and hold its shape.

Black Bear was also in demand with some Zunari having the entire skinned face of a Bear mounted complete with eyes and teeth in place, White Polar Bear hair was also used in the late Edo Period and was very much in demand, as well as Seal skin.
Momonari (Peach shaped Helmet) and Namban

From the mid 15 century Japanese armor was influenced by “foreign” styles. An important style was the introduction of “namban” armor.
The helmet was based on the Spanish / Portuguese Morion and Cabasset type helmet. These styles were incorporated in Japanese armor, and may have been good and efficient, but certainly they were very fashionable and a possibility for the Samurai to “show off”. The original Morion were rare and thus extremely expensive and were quickly copied and adapted by Japanese craftsman: metal inlay , addition of shikoro and maedate.
Other imported styles were from Korean or Chinese (Mongolian) origin.

''Kawari Kabuto''
Most of these extra ordinary kabuto were based on the zunari type but every possible form and addition was used. Starting around 1600 the imagination of the armor makers went wild. While the wars had almost come to an end, there was no necessity for battle field efficiency. Development went in the direction of display and the kabuto makers were able to show their extreme craftsmanship and enter new “advertising” areas. Only the very rich and bold could afford to display this kind of helmets and show their social or military status.
It is impossible to describe the many forms and only pictures can tell their story.
Tatami Kabuto (folding helmets)

Completely on the other site of the Kawari line of Kabuto stands the folding type. Generally speaking they were a very plain and useful type of helmet, often light but of good quality iron and with no ornaments (though some still have their Tehen kanemono). They were used by low and high ranking samurai as they were easy to take on travels. Some more or less in the traditional style complete with Shikoro, others lacking this but with Kusari (chain mail) added to protect the neck.

It is impossible to give even an overview of Kabuto.
The fascinating world of Japanese Armor can be seen in many of Akira Kurosawa’s movies and lately The Last Samurai has shown us some impressive examples of Kabuto in use in Hollywood’s late 19th century Japan.
''Toshisuke Nasu and William R.B. Acker''
The Fundamentals of Japanese Archery

In 1937 Mr. Acker published a book called "The Fundamentals of Japanese Archery", and thus being the first American and maybe the first Westerner to write about kyudo in English.

This book maybe not as famous as "Zen in the Art of Archery", by prof Herrigel, but certainly deserves its place among western Kyudo literature: it gives much technical information has nice photos and beautiful hand colored drawings.

The original book was privately published in "handwritten form" in a very limited edition (maybe 5 copies), since then it has been (incomplete and without permission) reprinted twice.
Mrs. Acker - van Eijk (mr Acker's widow) has kindly given the personal copy of mr Acker and permission to share this book in its original form with the world:

[[To download the original book in "PDF format" (2.8 Mb) click here.|acker1.pdf]]
If you like a higher resolution pdf contact me by mail: info at artsofthesamurai dot com

<iframe align="center" src="" frameBorder="0" width="500" height="500" scrolling="no"></iframe><br/>
''The Shogun Assassin Movies''
(Thank you John Robert Dodd (1996))

Sword of Vengeance: Tomisaburo Wakayama as Itto Ogami.

film series is one of the greatest achievements of cinema.
There were six original films produced between the years of 1972 and 1974. The movies were based on the great Japanese comic book series created by Kazuo Koike and Goseki Kojima.
Koike, the writer of the series, scripted the original six films. It is in part because of his involvement that the quality of the films are equal to the comic books. The original six films seem like longer versions of the comic book stories. The six films are as follows:

*Tomisaburo Wakayama, Akihiro Tomikawa, Yunosuke Ito.
**Director: Kenji Misumi.

Itto Ogami (Wakayama) is hired by a clan to kill a group planning an assassination. Ogami is to wait in a small village for the potential hit to arrive. During the trip we get a flashback that explains the story of Ogami and Daigoro (ie: the Yagyu's treachery causing Ogami to leave Ito disgraced).

After a half hour of background, Father and son arrive at the village to find that it has been taken over by a gang of criminals (in a very Spaghetti Western fashion). Awaiting his hit, Ogami can't reveal who he is. The gang humiliates Ogami, but still he doesn't fight back.

There is an interesting bond with a prostitute that is formed and a clear portrait of the hellishness of the times. The finale action sequences are exhilarating and breath taking (even if the make up isn't always the best). The duel between Ogami and the Yagyu man at dawn is stunning. The use of light and shadow is perfect. This scene has been remade (It can be seen in FUGITIVE SAMURAI and HANDFUL OF SAND) but never was it better realized than here.

My personal favorite scene is right before the finale. The leader of the criminals knows he has seen Ogami somewhere before but can't remember where. As the criminals prepare to leave, the leader orders the trouble makers executed. An ill samurai prepares to commit seppuku. He says "I need a decapitator." The leader pauses a moment and mutters, "Decapitator? Decapitator? Decap?...." Then stares in horror at Ogami's sword which the leader took away from Ogami in the film's beginning. He realizes now, too late, who Ogami is.

Criticism of the feudal system is also present here in the very first scene (pre-credit) as Ogami prepares to assist a young boy who the shogun has ordered to die. Stunning.

*Tomisaburo Wakayama, Akihiro Tomikawa, Kashiro Matsuo.
**dir: Kenji Misumi.

Ogami is hired by a clan that specializes in dyes for clothes. Their secret of the dye is in jeopardy because an informer plans to tell Lord Retsudo Yagyu (Ogami's nemesis). Meanwhile, Lord Yagyu sends out a gang of female ninja's to kill Ogami. One female ninja ends up betraying her orders when she sees the relationship that exists between father and son. Also the three Hidari brothers, experts in fighting and killing, have been sent to escort the informer.

More action than the first film (which reminds me of YOJIMBO). By far the most expressionistic fight is Ogami's showdown with the three brothers in the desert. Very much like a Spaghetti Western: Daigoro standing in the middle of the desert and points to his father standing on a dune in the distance, waiting. There is a highly memorable bit where Ogami kills an unseen, hidden listener during the hiring scene. The female assassins who attack while disguised as performers are also a memorable encounter.

Besides action, this film also offers an interesting personal conflict as the female ninja has to come to terms with her would be vicitim. Great stuff!

*Tomisaburo Wakayama, Akirhiro Tomikawa, Go Kato, Ichiro Nakatani.
**dir: Kenji Misumi.

Possibly my favorite of the entire series. There is a lot going on in this film. But instead of seeming fragmented every encounter makes the film that much tighter. Three brutes and Kanbei, a former samurai, are to become mercenaries for a lord. In the meantime they wait. The ruffians are looking for fun. They attack a family on the road, beating the man and raping the two women. The three bungle the job badly and end up being beaten by the man. In the confusion, the three spill the name of the lord that hired them. Kanbei shows up and kills the man and the two women. Kanbei then takes three branches and forces each ruffian to draw one. Whoever has the smallest branch will be held entirely responsible for the act and executed. This way there will be no official investigation and their lord spared embarrassment. Ogami and Daigoro stumble onto the scene just as the samurai is performing the execution. The other two ruffians try to attack Ogami and die. Kanbei isn't sure if Ogami heard the lord's name and challenges Ogami to a duel. Kanbei says he will look after Daigoro if Ogami looses. Ogami stops the duel saying he would like there to be one samurai left in the world. Ogami and Daigoro exit. This is just the begining.

There is a remarkable sequence where Ogami saves a prostitute. This is one of the best scenes of any of the BABY CART films, revealing Ogami's humanity and perhaps a sentimental nature underneath the stoicism.

The main plot has Ogami hired by Toizo, a female yakuza (crime boss). Toizo's father was a member of a clan destroyed by an informant named Gamba who told of the mental illness of the clan's leader. Gamba is now wealthy and powerful. Ironically, Gamba soon seeks Ogami out to have him kill the person he informed about the clan to. Ogami refuses and Gamba concludes that Ogami is hired to kill him. What follows is an interesting collection of cat and mouse games between Ogami and Gamba's men. Of these the most memorable being an ecounter with a pistol toting shootist.

Everything builds to a giant final battle as Ogami takes on what appears to be an army. Then afterwards faces Kanbei in a private duel on the blood drenched battlefield. This finale is one of the most emotionally intense and cathartic of action sequences. Very much like the best of John Woo. There are even some of Woo's themes present. Even though Ogami and Kanbei fight on oppossite sides they are very much alike. Emotionally draining and heartening the conclusion to this film is the perfect finish to a perfect film.

*Tomisaburo Wakayama, Akihiro Tomikawa, Yoichi Hayashi.
**Dir: Buichi Saito.

Itto Ogami is hired by a group of widows to kill their husband's murderer. They were killed by a female assassin with tatoo's scarring her breasts. The best sequence in the film occurs before Ogami meets up with the female asassin. Daigoro gets seperated from his father and lost. He encounters a wandering swordsman with a grudge against Ogami. Phenomenal scene! The rest of the film is very good as Ogami tracks down his hit by going to her father (the leader of a troupe of performers). The father views his daughter as a disgrace and is more than willing to help Ogami with his hunt.

What is interesting is the moral ambiguance here. The female assassin is revealed to have been wronged and is far from evil. The thin line of good and evil presented here reminds one a little of Clint Eastwood's UNFORGIVEN, with it's view of Western assassins (Eastwood's a fan of the BABY CART films). Even though not by the visual stylist Kenji Misumi this is another solid entry in the series.

There is a final battle with some Yagyu men. The battle is decent though anti-climatic after the finale of movie #3. But the duel between Ogami and Lord Yagyu is excellently coreographed. This duel is the only time in the original six films that Ogami and Lord Yagyu ever crossed swords. And it's certainly memorable.

*Tomisaburo Wakayama, Akihiro Tomikawa, Minoru Oki, Michiyo Yasuda.
**Dir: Kenji Misumi.

The most mystical of all of the series openings. Ogami stops at a waterfall and is approached by a mysterious, face covered, swordsman who challenges him. Ogami accepts and wins. As he is dying the swordsman explains that four other challengers await on the road. Each has part of the 500 ryo payment Ogami requires. Ogami must first prove he is capable of fullfilling the job, hence the tests. Each, brilliantly filmed, test is presented with an emphasis on a natural element (water and fire). With each challenger Ogami learns a little more about his mission.

Later, Ogami gets yet another job involving the same mission. The film reveals itself to be a bitter condemnation against feudal codes. This is the darkest entry in the series and the most complex in terms of story. The twists in the story are definitely part of the film's greatness and have only been highlighted here. This is one of the very best in the series. The action set pieces are excellent as always with the standout being an execution/battle by (and in) a water body to be crossed.

Also, the structure is fascinating. After the challengers, there is a simple little scene in which Daigoro is again seperated from his father. This is a quiet scene that reveals much about the relationship between father and son. It's a delicate scene. One that is in direct contrast to the brutal violence of the film's finale. Brilliant in every way.

*Tomisaburo Wakayama, Akihiro Tomikawa, Isao Kimura, Minoru Oki.
**Dir: Yoshiyuki Kuroda.

The last of the original six is a good film but not up there with the others in the series. This film starts promising. Retsudo Yagyu has had enough of Ogami and wants him dead at all costs. But most of the Yagyu immediate family are already dead (killed by Ogami). There only remains two: a granddaughter who is an expert in the lethal art of knives, and an illegitamate, rejected son who practices the black arts. Ogami's encounter with each assassin are memorable and there is a dark, supernatural mood that gives the film a creepy ambiance.

The problem comes after Ogami defeats the two challengers (about the halfway mark). There are a trio of left over zombies that don't do much. And finally just seem rather silly. The final battle is also problematic. Don't get me wrong, the action scenes are as breathtaking as always and the violence extreme. In fact this may be the goriest fight in the BABY CART series (it takes place on the pure white snow). But there isn't much emotional impact: samurai assassin's on ski's; Lord Yagyu's final "we will get you one day Ogami" ending; etc. Not a bad film and well worth watching. If your and action fan the final battle will be a delight. But the film's sort of an unfulfilled promise.

In the mid 70's attendance in Japanese movie houses was plumeting for almost all genres. So the BABY CART series was taken to TV. This was with a different cast and creative team. To my knowledge Kozuo Koike was not involved with the TV show. In the 1980's feature films were released that were made from compiling some of these episodes. I have seen one of these.

*Kinnosuke Yorozuya, Katzutaka Nishikawa.
**dir: Ryugi Tanaka.

From what I can figure out there are two episodes edited together here. One of these involves a violent clan seeking vengeance on Ogami for killing several of it's members and family. The other story involves Gunbei Yagyu (seen in BC #4), the estranged Yagyu, who is sent out to kill Ogami. Ogami won a match from Gunbei and got the job of the shogun's decapitator. Gunbei feels he has been cheated and wants a fair duel.

The two storylines are cut together pretty well with the seams sewed up nicely. The stories are both well told and while the action scenes lack the extravaganza quality of the orginal series, they are entertaining. The standout is the Gunbei/Ogami rematch which benefits from excellent cinematography. A decent film.

Somewhere in here there was a 1979 adaptation made for TV. I don't know if this came before the TV series or in between the TV series and the movies made from them. Either way this is the complete Ogami story in just about 2 and a half hours.

*Hideki Takahashi, Koji Aeba, Meiko Kaji, Tomisaburo Wakayama.
**dir: ?

This TV special often plays like little adaptations of the comic books. The film has many vinettes that have the feel of the original Koike stories (they may be from them). For example Ogami (Takashi) is hired by a woman to kill her husband who is an important messanger. In the best, Ogami faces a lord who Ogami had taught his sword style to. The former teacher and student square off. There are a few others, many of whom are excellent.

The big problem is comparison. The mysterious challengers are from BC #5, the female yakuza and the prostitute from #3, etc. These were probably all adapted from the comic book, but the comparison is still there. And BABY CART IN PURGATORY always comes up short lacking the visual style, cathartic release, and emotional impact of these scenes as presented in the original six films. Another complaint is the final duel between Ogami and Yagyu. It might thematically be interesting (two honor bound warriors in compliance with the samurai code) but it's not very entertaining.

BABY CART IN PURGATORY is far from bad however, and is well worth watching. It is interesting to see Tomisaburo the most famous Itto Ogami, here playing Retsudo Yagyu. This film stands as a decent companion piece to the original series. But it is ultimately only a companion piece.

Finally, in 1992 a big budgeted film adaptation was made that again would have a self contained story.
*Masakazu Tamura, Yushi Shibata, Tatsuya Nakadai.
**Dir: Shou Inoue

This is a revisionist relook at the Kaizo Koike/Goskei Kojima source. Much of Koike's themes are still present. But gone is the Leoneesq backdrop of Gods and myths. In their place is a sense of humanity and loss that is stunning.

Some have been outraged. How dare they say the filmmakers turn Ogami into a sniveling wimp (their words not mine). How dare the filmmakers get rid of the baby cart. The critics say the filmmakers have no understanding of the source and should have left well enough alone.

They are wrong. The filmmakers have a respect for this story that is reverent. There is not one missed opportunity. There is not one compromise. The filmmakers approach the story without a shred of condescendence. This film is treated the same as if it had been Ingmar Bergman. This is drama at its most potent and heartening.

Never before has Ogami been so human (that's human not a wimp). Never has Diagoro been so innocent (so much like a child which is what he is). Never before has Retsudo Yagyu been such a well defined character. Never has the love between father and son been so genuine. And lastly, never has the acting been this good. Wakayama is so associated with the role of Ogami that all who have came since have suffered in comparison. Tamura bares absolutely no resemblence to Wakayama but his interpretation is flawless, trading in the stoicism for sadness, Godness for humanity. He is equal to Wakayama. Tatsuya Nakadai has appeared in many films and is an actor listed alongside Toshiro Mifune, here one can easily see why. His is the definitive Retsudo Yagyu portrayal.

This is a perfect film. The action scenes are as poetic as they are exciting. The story filled with little moments of emotional perfection. The characters and relationships leap off the screen. Lastly the theme of the futility of violence is expertly realized. The final battle is a masterwork. The best duel I have ever seen. It's tense, cathartic, visually stimulating, and emotionally devastating. A final statement in one of the best works of world cinema.

There is also one other film that sometimes pops up: LONE WOLF COP: THE SEX DOLL CASE. Some video sources have called this an updating of the Itto Ogami story so I will review it.
*Yoshiio Umeyani, Chiko Ishimura, Seiya Komastu, Chikra Yasucka.
**Dir: Noeuhiro Sato (or is it Masao Ito -some discrepency exits)

A police officer (Umeyani) is recruited to a special agency and given a license to kill. He is given a dozen or so young policemen and a bar as a front. Meanwhile, girls are dissapearing and the friend of one girl is searching for her. It turns out the girls are being kidnapped and sold into bizarre kinky sex games to rich industrialists by a meganolical corporation. One of the young debuties becomes involved and finds a friend of his (the boyfriend of the searching woman) is involved.

From this plot discription one can see that this is hardly an adaptation of Kozuo Koike's comic. There is no Daigoro character, there is no Yagyu like clan that the officer is seeking vengeance against. There is little in common with the stoy.

The film itself however is a fun film. On one hand a tight, technically excellent, film noir style cop film. On the other hand unrepently sleazy (S&M outtakes from video are included from God knows what source). Umeyani is great. The way he plays the gay, jestery sort of bar owner undercover is wildly contradicted by the ending which has him in war paint and a headband blowing away the villains. A good movie, though it could have used a few more action scenes in the middle, but not really an adaptation of the Koike comic book.

Another set of companion pieces to the BABY CART films are the two LADY SNOWBLOOD films. The first LADY SNOWBLOOD was made in 1973. The second, LADY SNOWBLOOD -WEB OF TREACHERY / LOVE SONGS OF RESENTMENTS was made in 1974. Both were directed by Toshiya Fujita. At least the first was written by Kazuo Koike (with Kuzuo Vemura). Both starred Meiko Kaji as a woman seeking revenge for her dead parents in the 1920's.
*Meiko Kaji, Toshiro Kurosawa, Eiji Okada, Ko Nishimura.
**Dir: Toshiya Fujita.

Since Kazuo Koike co-wrote the script (with Kuzuo Vemura), and after reading favorable reviews from Max Allen Collins and Chris D, I had high hopes for this film. But the verdict, to my astonishment, is: not very good.

Meiko Kaji plays Yuki, a woman seeking revenge against a gang that murdered her parents. Yuki's father (not biologically), mother, and brother moved to a small town where the father was to begin his career as teacher. Once they arrive they are set upon by four thugs who kill the father and son, then rape the mother. The mother is kept by one of the thugs until she finally kills him. The mother is then sentenced to prison, where she becomes a "prison slut" for the guards. This is done so that she might conceive and the child will avenge the parents. Yuki is the child. The mother dies in childbirth and Yuki is given to a master swordsman to be trained in the art of killing. Now, Yuki is grown and taking vengeance on the four and any other flunky that gets in her way.

This could have been interesting. The story had potential, particularly in the relationship between parent and child in regard to one of the thug's relationship with his daughter. This is the best part of the film as Yuki finds her quarry to be a drunken, washed up loser. But a loser deeply loved by his daughter. Much could have been said about family honor and the cycle of violence. But this film fumbles badly. Or rather it just doesn't care.

LADY SNOWBLOOD is the Japanese equivalent of a third rate modern day 70's Hong Kong Chop Sockey film (there is even a similar disco style soundtrack used). Anyone expecting the depth in emotional, narrative, or thematic content of the BABY CART films is going to be left unfulfilled. LADY SNOWBLOOD is only interested in cheap thrills. This wouldn't isn't necessarily bad in itself (though it is still a disappointment considering the BC films). I have nothing against exploitation films (see LONE WOLF COP review). But this film doesn't even work as mindless action. The action scenes are nothing special. The blood sprays that seemed poetic in the BC films are just plain silly here. One laughs (I was) at the extreme excessiveness of them. Also the film seems A LOT slower paced than it's ninety some odd minute running time would suggest. The reason for this is probably that there isn't anything here. The story is uninvolving, the training scenes silly, and the action subpar. A disappointment all the way round. I haven't seen the manga so I can't comment on how close the film is to the comic.


Haven't seen it, so I can't comment

Don't know if Kazuo Koike had anything to do with this film or not.

This takes care of all of the Japanese sources. All are available as dub offs in various mail order catalogs. However only three versions of the BABY CART/SWORD OF VENGEANCE/LONE WOLF AND CHILD/LONE WOLF AND CUB series are available in domestic United States video label.

This is an edited, simplified, dubbed combination of the first two films. The American producers were obviously trying to lesson the "Japaneseness" of the production. The story is more linear than the originals. Lord Yagyu is made out to be a crazy shogun. Daigoro has narration which occasionally does work (the last line of the film). Unfortunately much of the child's narration is to provide a humorous (albeit blackly) tinge to the film.

Though vastly inferior to the original two films, SHOGUN ASSASSIN has plenty of breathtaking action scenes and gives hints to the greatness the Japanese filmmakers had originally intended. Since this film is one of the few easily available for rental in the United States I would recommend it as a decent introduction. But bare in mind: the originals are MUCH better.

The third film in the series released dubbed but I'm not sure if edited. Haven't seen this one (not available locally at my video stores), but since BC #3 is one of my very favorites I'm almost afraid to.
*Kinnosuke Yorozuya, Katzutaka Nishikawa.
**Dir: Minoru Matsushima, Akinori Matsuo.

A version from TV. I believe this is the series pilot, some of this (the interesting parts) were included in THROUGH A CHILD'S EYES. Basically a retelling of how Itto Ogami became shogun decapitator and how the Yagyu's plotted against him. Seen it all before and much better. This is TV and it shows: the fight scenes for the most part aren't very well filmed, the cinematography is only occasionally on the mark, etc. Slow paced and hard to watch, recommended only for the most die hard BC fans and only for completism.

Anyway that wraps up the films made from the Kazuo Koike / Goseki Kojima comic book. There are probably other 80's films but I don't know them. Much more could be written about the series: it's visual poetry (watch the way the scenes are framed), the constant conflict of beauty and horror, the equally co-dependent relationship of Ogami and Daigoro (in every film Daigoro saves his father), and so forth. But this is not the place for an indepth breakdown of the series. This is a fan's introduction. Not a critique, not high criticism, but fanship. So to finish I have included my own personal list of favorites of the Japanese films. Definitely seek these films out.


1 - (three way tie)

I just couldn't decide which was the best so I included all three. All are worthy of the best films of John Woo/Sam Peckinpah/Tsui Hark/ Sergio Leone in terms of both action and emotion. HADES for it's examination of two fallen samurai's opposite and yet the same. DEMONS for it's bitter and angry indictment of a world without emotion and without honor; For the complex and ever changing plot; And for it's mystical sort of beginning. Lastly SAND which takes a new look at the material and finds a large heart and a beautiful soul.

2 - BABY CART #2
3 - BABY CART #4
4 - BABY CART #1

These three represent the runners up. All of these films are excellent, with phenomenal action scenes, heartfelt stories, and visual poetry.

6 - BABY CART #6

Not quite up to the standard of the others but two very good films in their own right.


Inferior, but worth watching.


Completism only.

Those looking for more information on these films can find it in:
*	ASIAN TRASH CINEMA magazine, issues #4, 5, 6, 8 by Max Allen Collins.
*	CULT MOVIES magazine, issues #12, 13, 15, 16 by Chris D.
*	VIDEO WATCHDOG magazine, issues #13, 18, 20, 21, 22, 28 by Eric Sulev.

I owe a great deal of thanks to these sources.
The Lone Wolf and Cub


The Story
Wrongfully accused of plotting to overthrow the Shogun, Itto Ogami (拝一刀) - master of the Suio Ryu - becomes an outlaw, wandering through the provinces of feudal Japan with his infant son Daigoro by his side, seeking vengeance for the murder of his wife and family.

Once Ogami had been the Shogun's official executioner, using his deft swordmanship to end the lifes of rebellious lords who defied the Shogun. His skills with the blade were legendary.

But the Yagyu clan, the deadly assassins empowered to enforce the Shogun's will, coveted Ogami's office of executioner as well. They framed him, killed his wife, and now they come to his home bearing an official order from the Shogun, demanding Ogami's death by ritual suicide.........

Written and designed by:

Kazuo Koike (小池一夫 Koike Kazuo, born May 8, 1936 in Daisen, Akita Prefecture -)

Goseki Kojima (小島剛夕 Kojima Gōseki, November 3, 1928 – January 5, 2000)

This series was published in the US by First Publishing, and started in 1987.

Lone Wolf and Cub 
& Blade of the Immortal Page

It's not yet winter, and not yet dawn. Black, dead branches rattle like dried bones, slapped by an icy wind. Curled, crumbling leaves whisper down a narrow mountain path. A pebble pops beneath a wooden wheel. Grey as the sky behind him, a man approaches, pushing a rough-hewn cart. The path is steep, but his step is steady. Somewhere in the darkness, something breathes.

The man pauses, his black eyes fixed on the sound. Hidden until now by the filthy folds of his robes, his right hand rests lightly on his belt, thumb poised just below his sword's hilt. He almost smiles.

In the cart a boy, a baby, sleeps, silent and unafraid.

Welcome to the world of Lone Wolf and Cub, one of only a couple of manga titles that I have read that have taken my breath away. Above is an excerpt from Frank Miller's Introduction to Lone Wolf and Cub appearing in the first American issue. I do not pretend to have so elegant a writing style, so this page will rely heavily on Mr. Miller's and Rick Oliver's text to promote this series. What you will find here is some background about Japanese culture which is deeply engrained in this book. I will also append to this page, the summary of each of the 45 comics (My thanks go to Salvador Moragues who has provide the summaries for Issues 38-39 and 44-45) plus the order in which they were published in the Japanese collections. The latter item may be somewhat incomplete.

Although this page is primarily devoted to Lone Wolf & Cub, recently Dark Horse Comics has begun publishing a samurai story called Blade of the Immortal. A summary of each episode appears at the bottom of this page. Fans of Lone Wolf and Cub should enjoy this series as well.

Bushido, The Warrior's Way

In Japan, centuries before the atom bomb, a weapon came into use that changed every aspect of Japanese life, from the shape of it's social structure to the nature of Japanese moral, philosophical, and religious thought.

It was made by pounding, flattening, and folding a piece of red-hot steel so many times that each layer was many times thinner than a human hair, creating a blade sharper than any the world has seen, before or since. Those trained in its use were the power in the land, the warrior class, the samurai.

For dozens of generations, war was a constant in Japan, and the samurai ruled, and the sword was worshipped. A system of samurai ethics and philosophy formed, called bushido, or the warrior's way. Bushido gave to each kind of sword stroke a particular mystical context, and demanded that a samurai's soul be as sharp and perfect and merciless as the blade of his katana.

Bushido persisted, in fact flourished and was greatly embroidered, after the warlord Tokugawa united the provinces of Japan under a military dictatorship, bringing an end to the wars, casting samurai by the thousands into the shameful state of unemployment.

They were ronin, the masterless samurai. They became beggars, drunks, and assassins, shunned and feared. Many committed ritual suicide. Many others threatened to do so at the houses of wealthy lords, embarrassing the lords into giving them money or food.

More than ever, their swords were all that they had.

Seppuku, The Ritual Suicide

Their code of ethics and philosophy demanded that the samurai seek death before shame, and to feel no pain; suicide through this method of self-torture appealed greatly to the same fatalism that made the samurai so nearly invincible in combat.

It became wrapped in layers of etiquette and piled high in ceremony. By the time the Shogun institutionalized seppuku as the predominant form of samurai execution, it had become a solemn spectacle, witnessed by hundreds, with its every intricate detail a piece of precious tradition. Snow-white tatami mats were protected by red velvet. The samurai tucked his sleeves under his knees to prevent him from falling backward and disemboweled himself with a beautiful dagger, crafted for a single use. Another samurai, an executioner with the skill of a surgeon, would cleave the samurai's head from his shoulders, preferably leaving a flap of skin at his throat uncut so that the head would not roll across the floor.

Kazuo Koike and Goseki Kojima's Lone Wolf and Cub is the story of the Shogun's executioner, and how he became a demon.

Manga, Irresponsible Pictures

The Japanese call comic books "manga," which, literally translated, means "irresponsible pictures." Some of their more serious cartoonists prefer to call them "gekiga," or "dramatic pictures," but, to most Japanese comic readers, manga are manga and accepted as a worthy and important part of their popular culture. They sell millions of copies to all ages and both sexes, and offer an astonishing diversity in subject matter. Strolling through a manga shop, you'll see comics of historical fiction and historical fact, sports comics for lovers of baseball, kendo, and even fishing. Riding any train in Japan, you'll see manga in the hands of schoolgirls and businessmen alike.

Kazuo Koike and Goseki Kojima's Lone Wolf and Cub first began appearing in 1970, and has enjoyed immense success not only as a comic book, but in faithful adaptations to television and film. Its story of a great samurai warrior and his quest for vengeance strikes a deep chord in Japanese history and culture. Like any really good novel, Lone Wolf and Cub is rich in themes that are as universal as they are human. Exotic as it may seem to western eyes, its thrilling action sequences and powerful emotional context make Lone Wolf great reading even for those to whom the Japanese are an alien, bewildering people.

Pure Art as a Form of Communication

Our written language grew from cartoons, drawn one after another, in sequence, as hieroglyphs carved in stone, as brush drawings on rice paper.

Comics is, foremost, a form of communication. As much as it can accommodate techniques from fine art and illustration, comic art is at its purest and most powerful when it is least elaborate, when every line conveys something essential to the purpose of telling a story.

Lone Wolf and Cub artist Goseki Kojima does not tarry. Each character in writer Kazuo Koike's tale is drawn in swift strokes, and each stroke speaks volumes. The six or seven strokes that constitute young Daigoro are so well chosen that we come to know him intimately, not as a cute little sidekick from Saturday morning kiddie's shows, but as a three-dimensional human being, innocent, intelligent, curious, and brave.

Countless wordless moments pass between Daigoro and his demon father, the most telling moments of characterization in the story. They have to be wordless; the addition of thought balloons or captions would only interfere. Also wordless are Lone Wolf's combat scenes. Kojima's lines streak across the page, blurring the figures into naked speed and power.

Legends of Samurai in Japanese Culture

Not only is the Japanese audience for comics big, but the comics themselves are big - 300 or more pages, jam packed with action from cover to cover.

And Lone Wolf and Cub - Kozure Okami - is no exception. The saga of Itto Ogami and his infant son Daigoro spans 28 volumes, each over 300 pages long (over 9000 pages in total). With over six million copies already in print, Kazuo Koike and Goseki Kojima's powerful samurai epic is one of the most famous and popular Japanese comics of all times, spawning six movies, four plays, a television series, and five records.

As Frederik Schodt says in Manga Manga!, "If the cowboy symbolizes the American ethos, then the samurai warrior surely symbolizes the ethos of Japan...In 1970 [Goseki Kojima and Kazuo Koike] began a twenty-eight volume of work that has since set the standard for the genre: Kozure Okami...What saved the story from becoming nothing but endless scenes of slaughter was the presence of Ogami's infant son, Daigoro, who served as unimpassioned observer and a metaphor for the relationship between fathers and sons...The contrast between human bonds and violence on the battlefield is a favorite theme of all samurai stories, and it the glue that hold this one together.
<<tiddler ToggleRightSidebar>>

^^[[Kabuto]]^^ ^^[[KabutoImages]]^^
^^KabutoHistory^^ ^^[[KabutoStyles]]^^
^^[[Menpo]]^^ ^^[[Menpo Images]]^^
^^[[Kyudo]]^^ ^^[[Kyudo Images]]^^
^^[[Lone Wolf]]^^ ^^[[LW Movies]]^^
''Menpo 面具''
Next to the Kabuto one of the most expressive parts of the Samurai's Armor is the Face Mask.
This "armor for the face" is known by many names: "mengu" "menpo" "mempo" "men yoroi" "katchu men". Menpo meaning "face and cheek" and is generally used for masks with nose pieces.
A general classification can be made:
*"Happuri" A whole face mask with center opening for the nose eyes and mouth, maybe only "legend"
*"Hoate" The mask protects only the cheeks.
*"Somen" (Entire Face) A mask covering the entire face.
*"Me no shita men",  generally known as "Menpo" or "Mempo" A half mask covering the face below the eyes including the nose.
"Nara Men" with wrinkle's on the broad nose, generally mass produced in the Nara area
"Ressei Men" "furious power": a half mask with wrinkles, teeth and usually whiskers, savage violent expression.
"Ryubu-bo" "distinguished", "generous and relaxed". A half mask with some wrinkles (sometimes smooth) no whiskers and a noble expression.
"Uba ho" "aged woman" toothless, a small mouth no wrinkles.
"Bijo" "beautiful woman" toothless, smooth face, large mouth.
"Tengu-bo" Mask like the face of a mythical bird.
"Okina bo" with very long beard or whiskers
"Neri ho" Mask made of leather.
"Genjoraku" A Bugaku / Gigaku dance related mask.
"Okina ho" resembles an aged man : Okina mask of Noh theatre's origin.
"Karura" A mythical bird like mask.
"Kotakuraka-men" The nose looks like a crow's beak "karasu", with downward sloping nose.

"Hanbo" "Hambo" Half mask, covering the chin, jaw and sometimes cheeks.
"Etchu bo" or "Eccyu bo" Plain rounded shape covering mainly the chin.
"Tsubame bo" or "Tsubakuro Bo" "Embigata" "Yembi gata" "Swallow cheek" covers the chin and onto the cheeks, resembles a swallow tail.
"Saru-bo" "Monkey cheek" covers chin, cheeks and frames the mouth
"Nodowa" "Nodawa" A separate throat protection, an iron neck ring in U-form

''Some details and terms''
"orikugi" "ogarami"(meaning cord twining) "o tasuke no kugi" otayori no kugi" "odome" pegs, hooks or rings on the cheeks and / or studs on the chin to fasten the helmet cord
"ase nagashi no ana" hole to drain perspiration
"tsuyo otoshi no kubo" "dew dropping tube" external tube attached to the sweat running hole to drain perspiration
Whiskers and imperials
"Haguma" polar bear
"Shaguma" brown bear
    "nuri saba" russet iron lacquer
    "yadome" standing flanges to protect the chin cord
    "yodare kake" or "suga" throat protector (guard) of scale plates or mail
    "hon kozane" true scales
    "kiritsuke kozane" false scales
    "shineri kayeshi" standing edge
<iframe align="center" src="" frameBorder="0" width="500" height="500" scrolling="no"></iframe><br/><small>Created with <a href="" title="">Admarket's</a> <a href="" title="flickrSLiDR">flickrSLiDR</a>.</small>
- Arms and Armour
Arts of the Samurai
<html><a href=""><img src="" border="0" alt="tbvvliet - View my most interesting photos on Flickriver" title="tbvvliet - View my most interesting photos on Flickriver"/></a></html>
|Author|Eric Shulman|
|Description|show/hide right sidebar (SideBarOptions)|
<<tiddler ToggleRightSidebar>>
<<tiddler ToggleRightSidebar with: label tooltip>>
Try it: <<tiddler ToggleRightSidebar##show
	with: {{config.options.chkShowRightSidebar?'►':'◄'}}>>
copy/paste the following settings into a tiddler tagged with <<tag systemConfig>> and then modify the values to suit your preferences:
<<tiddler {{
	var co=config.options;
	if (co.chkShowRightSidebar===undefined) co.chkShowRightSidebar=true;
	var sb=document.getElementById('sidebar');
	var da=document.getElementById('displayArea');
	if (sb) {'block':'none';'':'1em';
'';}}>><html><nowiki><a href='javascript:;' title="$2"
	var co=config.options;
	var opt='chkShowRightSidebar';
	var show=co[opt]=!co[opt];
	var sb=document.getElementById('sidebar');
	var da=document.getElementById('displayArea');
	if (sb) {'block':'none';'':'1em';
	var labelShow=co.txtToggleRightSideBarLabelShow||'&#x25C4;';
	var labelHide=co.txtToggleRightSideBarLabelHide||'&#x25BA;';
	if (this.innerHTML==labelShow||this.innerHTML==labelHide) 
	this.title=(show?'hide':'show')+' right sidebar';
	var sm=document.getElementById('storyMenu');
	if (sm) config.refreshers.content(sm);
	return false;
%/<<tiddler {{
	var src='ToggleRightSidebar';
}} with: {{
	var co=config.options;
	var labelShow=co.txtToggleRightSideBarLabelShow||'&#x25C4;';
	var labelHide=co.txtToggleRightSideBarLabelHide||'&#x25BA;';
}} {{
	var tip=(config.options.chkShowRightSidebar?'hide':'show')+' right sidebar';
<div class='toolbar' macro='toolbar [[ToolbarCommands::ViewToolbar]]'></div>
<div class='title' macro='view title'></div>
<div class='subtitle'><span macro='view modifier link'></span>, <span macro='view modified date'></span> (<span macro='message views.wikified.createdPrompt'></span> <span macro='view created date'></span>)</div>
<div class='tagging' macro='tagging'></div>
<div class='tagged' macro='tags'></div>
<div class='viewer' macro='view text wikified'></div>
<div class='tagClear'></div>
if(config.options.txtUserName != "adminname") {
	showBackstage = false;
	readOnly = true;