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Kalaripayattu () is a martial art which originated as a style in Kerala〔(【引用サイトリンク】title=Kalaripayattu History )〕 during the 13th Century AD.〔Suresh, P. R. (2005). http://www.kalaripayattu.org/''Sangam polity''. Bombay: Asian Publishing House.〕 The word kalari first appears in Sangam literature to describe both a battlefield and combat arena. The word ''kalari tatt'' denoted a martial feat, while ''kalari kozhai'' meant a coward in war.〔 Each warrior in the Sangam era received regular military training. It is considered to be one of the oldest fighting system in existence. It is now practiced in Kerala, in contiguous parts of Tamil Nadu. It was originally practiced in northern and central parts of Kerala and the Tulunadu region of Karnataka. ==History== Early written evidence of martial arts in Southern India dates back to the Sangam literature of about the 3nd century BC to the 2nd century AD. The Akananuru and Purananuru describe the use of spears, swords, shields, bows and silambam in the Sangam era. The word kalari appears in the ''Puram'' (verses 225, 237, 245, 356) and ''Akam'' (verses 34, 231, 293) to describe both a battlefield and combat arena. The word ''kalari tatt'' denoted a martial feat, while ''kalari kozhai'' meant a coward in war.〔 Each warrior in the Sangam era received regular military training〔Subramanian, N. (1966). ''Sangam polity''. Bombay: Asian Publishing House.〕 in target practice, horse and elephant riding. They specialized in one or more of the important weapons of the period including the spear (''vel''), sword (''val''), shield (''kedaham''), and bow and arrow (''vil ambu''). The combat techniques of the Sangam period were the earliest precursors to kalaripayat.〔Zarrilli, Phillip B. (A South Indian Martial art and the Yoga and Ayurvedic Paradigms. ) University of Exeter.〕 References to "Silappadikkaram" in Sangam literature date back to the 2nd century. This referred to the silambam staff which was in great demand with foreign visitors. In the 3rd century, elements from the Yoga Sutras of Patanjali, as well as finger movements in the ''nata'' dances, were incorporated into the fighting arts.〔J. R. Svinth (2002). (A Chronological History of the Martial Arts and Combative Sports. ) ''Electronic Journals of Martial Arts and Sciences''.〕 A number of South Asian fighting styles remain closely connected to yoga, dance and performing arts. Some of the choreographed sparring in kalaripayat can be applied to dance and kathakali dancers who knew kalaripayat were believed to be markedly better than other performers. Until recent decades, the chhau dance was performed only by martial artists. Some traditional Indian classical dance schools still incorporate martial arts as part of their exercise regimen.〔Luijendijk 2008〕 Kalaripayat had developed into its present form by the 11th century, during an extended period of warfare between the Chera and Chola dynasties.〔〔 Kalaripayattu includes strikes, kicks, grappling, preset forms, weaponry and healing methods.〔 Regional variants are classified according to geographical position in Kerala; these are the Northern style from Malabar region in north Kerala, the Central style from inner Kerala and the southern style from Thiruvitankoor. The northern style was practiced in Kerala primarily by the Pada Nairs, a sub group of Nairs and Thiyyas, The thiyya chavers are known as'Chekavas' a sub group of Thiyyas. The famous ''vadakkan pattukal'' or the northern ballads contains the stories of these medieval Kalari warriors. These ballads are divided into two groups-the 'Thacholi pattukal', which tells the story of the Nair Thacholi family and the 'Puthooram Pattukal', which tells the story of Thiyya Puthooram family. The southern style, was practiced largely by the Nadars and has features distinguishing it from its other regional counterparts. Northern kalaripayattu is based on elegant and flexible movements, evasions, jumps and weapons training, while the southern "Adi Murai" style primarily follows the hard impact based techniques with priority on empty hand fighting and pressure point strikes. Both systems make use of internal and external concepts. Some of the flexibility training methods in northern Kalaripayattu are applied in Keralan dance forms〔 and Kathakali dancers who knew martial arts were believed to be markedly better than the other performers. Some traditional Indian dance schools still incorporate kalaripayattu as part of their exercise regimen. Tamil sage Agastya is regarded as the founder and patron saint of southern kalaripayat, silambam and varmam -an ancient science of healing using varmam points for varied diseases.〔 along with Lord Parasurama, especially in Kerala. The art was disseminated through schools known as kalari, which served as centres of learning before the modern educational system was introduced. Still in existence, kalaris served as meeting places for the acquisition of knowledge on various subjects ranging from mathematics, language, astronomy and various theatrical arts. More specifically, martial arts were taught in the ''payattu kalari'', meaning fight school. In the 11th and 12th century, Kerala was divided into small principalities ruled by chieftains that fought wars among themselves. In such wars, one-on-one duels or ''ankam'' were fought by Chekavar on an ankathattu, a temporary platform, four to six feet high.〔 Ever since the pre-medieval era, Kaniyar, the traditional astrologer caste men of Kerala, particularly from northern region, were assigned as the preceptors of Kalaripayattu, hence, till the last century, they were known as Panickar and Asans in northern and southern regions of the state, respectively.〔L.Krishna Anantha Krishna Iyer (Diwan Bahadur) ;The Cochin tribes and castes; 1909〕〔K. Thulaseedharan ;Studies in Traditional Kerala Society; 1977〕 Many of their families still maintain what remains of their old Kalaris , as heritage. The Mappila Muslims adopted and practiced Kalaripayattu as their own. The ballads of North Kerala refer to Muslims trained in Kalaripayattu. For instance, the hero of the northern ballads Thacholi Othenan (Manikoth Thacholi Udayanakurup) bowed before Kunjali Marakkar, the Muslim commander of the Zamorin, and offered him presents before opening his ''kalari''. The traitor who killed Thacholi Othenan was also a Mappila discipline of Kadirur Gurukkal. Some Mappilas were trained in Hindu institutions known as ''Chekor Kalaris''. The ''Paricha Kali'' is an adaptation of Kalaripayattu, and the Mappila tradition of this art is called ''Parichamuttu''.〔''Mappila Muslims: a study on society and anti colonial struggles'' (2007), Hussain Randathani, Other Books, (p. 70 )〕 It is mentioned that some ''panikkars'' had between 8,000 to 9,000 disciples, who were trained as fighting forces for the local ''rajahs''.〔''Maritime India: trade, religion and polity in the Indian Ocean'' (2010), Pius Malekandathil, Primus Books, (p. 46 )〕 One of the most prominent Ezhava ''panikkars'' was Arattupuzha Velayudha Panikkar, whose ''kalari'' was located at Alappuzha. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kalaripayattu」の詳細全文を読む スポンサード リンク
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