/!--#include file="./dbcool.asp" -->
Although the normal size of a Baduk board is 19 by 19 lines, it is possible to use smaller sizes. Beginners can learn the basics on a 9 by 9 board, and a quick game can be played on a 13 by 13 board without losing the essential character of the game. The following examples all use a 9 by 9 board.
A game of Baduk starts with an empty board. Each player has an effectively unlimited supply of stones, one taking the black stones, the other taking white. The basic object of the game is to use one's stones to form territories by surrounding vacant areas of the board. It is also possible to capture the opponent's stones by completely surrounding them.
The players take turns, placing one of their stones on a vacant point at each turn. Black plays first. Note that the stones are placed on the intersections of the lines rather than in the squares. Once played, stones are not moved. However they may be captured, in which case they are removed from the board, and kept by the capturing player as prisoners.
At the end of the game the players count one point for each vacant point inside their own territory, and one point for every stone they have captured. The player with the larger total of territory plus prisoners is the winner.
shows the position at the end of a game on a 9 by 9 board, during which Black captured one white stone which had been at
Black has surrounded 15 points of territory, 10 in the lower right corner and 5 towards the top of the board. Black's territory includes the point a formerly occupied by the stone he has captured. Adding his prisoner, Black has a total of 16 points.
White's territory is 17 points, so White wins the game by one point.
The points which are horizontally and vertically adjacent to a stone, or a group of stones, are known as liberties. An isolated stone or group of stones is captured when all of its liberties are occupied by enemy stones.
shows three isolated white stones with their liberties marked by crosses. Stones which are on the edge of the board have fewer liberties than those in the centre of the board. A single stone on the side has three liberties, and a stone in the corner has only two liberties.
shows the same three stones of
each with only one liberty left and therefore subject to capture on Black's next move. Each of these white stones is said to be in dansu/atari, meaning they are about to be captured.
shows the position which would arise if Black went on to play at
. Black has taken the captured stone from the board, and in a real game would keep it as a prisoner. The same remarks would apply to the other two white stones, should Black play at
Stones occupying adjacent points constitute a solidly connected group. Two examples of such solidly connected groups of stones are shown in Diagram 5.
It is important to remember that only stones which are horizontally or vertically adjacent are solidly connected; diagonals don't count as connections. Thus, for example, the two marked black stones in the top left of Diagram 5 are not solidly connected.
As far as capturing is concerned, a solidly connected group of stones is treated as a single unit. As with isolated stones, a group is captured when all of its liberties are occupied by enemy stones.
A player may not 'commit suicide', that is play a stone into a position where it would have no liberties or form part of a group which would thereby have no liberties, unless, as a result, one or more of the stones surrounding it is captured.
have both been reduced to just one liberty. Note that the Black group in the top right is not yet captured because of the internal liberty at
. The two stones at the top left of
can each be captured independently at
we see the position which would result if Black captured at
and White captured at f and at
. The remaining black stone could be captured at
. As with the capture of a single stone, the points formerly occupied by the black group have become White's territory, and vice versa.
illustrate the rule governing capture. In
, White may not play at
, since either of these plays would amount to suicide; the stones would then have no liberties. However, if the outside liberties have been filled, as shown in
become legal; they fill the last black liberty in each case, and result in the black stones being captured and removed from the board as White's prisoners.
, White was able to play at i and j because these plays result in the capture of the adjacent black stones. Since White's plays make captures, they don't count as suicide.
A different situation is shown in
. The black group here could only be captured if White were able to play at both
. Since the first of these plays would be suicide, there is no way that White can carry out the capture. These two separate spaces within the group are known as eyes.
Any group of stones which has two or more eyes is permanently safe from capture and is referred to as a live group. Conversely, a group of stones which is unable to make two eyes, and is cut off and surrounded by live enemy groups, is called a dead group since it is unable to avoid eventual capture.
, the black group at the bottom is in danger of being captured. To ensure that his group has two eyes, Black needs to play at
, the black group will no longer be able to make two eyes, and cannot avoid eventual capture; White can always fill in the outside liberties and then play at
would only hasten the group's death.
The black group at the top left of
is already alive even though there is a white stone inside one of its eyes. Since White can never capture the black stones, the white stone caught inside the group can't be saved.
In the course of a real game, players are not obliged to complete the capture of an isolated dead group once it is clear to both players that the group is dead. In this case, once White has played at
, the situation may be left as it is until the end of the game. Then, the dead stones are simply removed from the board and counted together with the capturing player's other prisoners.
, Black can capture a stone by playing at r. This results in the situation at the top of Diagram 13. However, this stone is itself vulnerable to capture by a White play at
. If White were allowed to recapture immediately at u, the position would revert to that in
, and there would be nothing to prevent this capture and recapture continuing indefinitely. This pattern of stones is called pae/ko - a term meaning eternity. Two other possible shapes for a pae/ko, on the edge of the board and in the corner, are also shown in this diagram.
The pae/ko rule removes this possibility of indefinite repetition by forbidding the recapture of the pae/ko, in this case a play at
, until White has played at least one move elsewhere. Black may then fill the pae/ko, but if he chooses not to do so, instead answering White's intervening move elsewhere, White is then permitted to retake the pae/ko. Similar remarks apply to the other two positions in these diagrams; the corresponding moves at w and
must also be delayed by one turn.
Usually a group which can't make two eyes will die unless one of the surrounding enemy groups also lacks two eyes. This often leads to a race to capture, but can also result in a stand-off situation, known as big/seki, in which neither group has two eyes, but neither can capture the other due to a shortage of liberties. Two examples of big/seki are shown in
. Neither player can afford to play at
, since to do so would enable the other to make a capture.
Note that even though the groups involved in a big/seki may have an eye, as a general rule none of the points inside a big/seki count as territory for either player.
The game ends by agreement. When neither player believes that he can make more territory, capture more stones, or reduce his opponent's territory by playing on, he will pass instead of making a move on the board. Two consecutive passes end the game.
As remarked in the introduction, one of the best features of the game of Baduk is its handicap system. A weaker player may be given an advantage of anything up to nine stones. These are placed on the board in lieu of his first move.
Through the grading system, any two players can easily establish the difference in their strength, and therefore how many stones the weaker player should take in order to compensate for this difference. Since a player's grade is measured in terms of stones, the number of stones for the handicap is simply the difference in grade between the two players.
There is an established pattern for the placement of handicap stones, shown by the dots which are marked on any Baduk board. This is shown in
, seen from the Black player's point of view. For handicaps of two or three stones, where the stones can't be placed symmetrically, the convention is that the far left corner is left vacant.
The rules described in this page are the international rules. These are the rules most commonly used in the West. The Chinese use a different system of rules which are essentially the same but which involve a different method of counting the score. The two sets of rules usually lead to the same game result.
From Wikipedia, the free encyclopedia
South Korean go (baduk) organization
The Korea Baduk Association, also known as Hanguk Kiwon (Korean: 한국기원), was founded in November 1945 by Cho Namchul.
Baduk is a game which was present in Korea by the 5th century.[1] It originated in China, but the West is more familiar with the Japanese name Go. This is because the Japanese were the first to introduce it to the West. Japan was introduced to the game in the 7th century AD.
Initially, most Korean players followed the sunjang style of beginning by placing sixteen stones —eight white and eight black— on the board in a preset pattern. Cho Namchul knew that the international players began with an empty board like Japan since Japan was the first to introduce the game to the West. By forming the association, he set about convincing Koreans players to use the "modern" style.
The Hanguk Kiwon is the Go organization that oversees Go professionals in South Korea. It issues official diplomas for strong players and organizes tournaments for professionals.
There have been six stages in the history of Korean Baduk:
1. its introduction during the Old Chosun until Unified Silla
2. its popularization period during Koryo until the mid-Chosun
3.. the dominance of Sunjang Baduk until the end of Chosun
4. the introduction of international rules(to 1945)
5. the rising standard of Korean Baduk(1954-1989)
6. the golden age(1989-present day)
With Kim Hyang-hee, Choi Chaiwoo and Yoon Young-Su, I personally know 3 korean baduk players who are activ spreading baduk in the world and who visited the EGC 2024 in Toulouse.
This video was made by the KBA as a documentary to commemorate the Baduk Day.
Below you find the english translation of the spoken words in korean.
In November 1945, when the afterglow of liberation was still fresh, Cho Nam-cheol, the pioneer of modern Korean baduk, opened the first modern baduk in Korea, the Hanseong Kiwon.
Cho Nam-cheol, who went to Japan to study in 1937, entered the league at the age of 19 and lived as a professional player in Japan before returning to Korea in 1944.
Cho Nam-cheol established the foundation of modern baduk in Korea by opening the Hanseong Kiwon in 1945, but had to evacuate due to the outbreak of the Korean War.
Cho Nam-cheol returned to Seoul and founded the Korea Baduk Association in 1954, announcing the launch of the second modern baduk in Korea.
In 1956, the Dong-A Ilbo created the first professional national baduk tournament, the National Player 1st Place Tournament, and Cho Nam-cheol won the first to ninth tournaments, heralding an era of invincibility.
The landscape changed when Kim In, who had been studying in Japan, returned. Kim In-eun, who passed the professional gate at the age of 16 in 1958, was the most notable figure at the time. However, he failed to overcome Cho Nam-cheol's wall in the 1962 Highest Ranking Tournament and the National Championship, and chose to go to Japan.
After returning to Korea after a short stay in Japan, Kim In-eun won the National Championship in 1966, when Cho Nam-cheol was on a nine-game losing streak, and became the 7th champion in 1968, achieving the first generational change in the history of modern Korean baduk.
In 1968, the Korea Baduk Association building was built in Gwancheol-dong, Jongno-gu, Seoul, and Korean modern baduk entered the Warring States Period.
Many players competed, but the one who stood out the most was Seo Bong-su.
Seo Bong-su, who learned baduk late at the age of 15, succeeded in joining the national team in 1970 at the age of 19. In 1971, he won 11 consecutive wins in the Myunginjeon to earn the right to challenge, and in the challenge held the following year, he defeated Cho Nam-cheol to become Myungin, setting numerous records including the youngest, shortest time, and lowest-ranking winner in Korean baduk history.
While Seo Bong-su was making a big mark, Cho Hun-hyun had finished his activities in Japan and returned to Korea.
In 1962, Cho Hun-hyun set the world’s youngest entry record at 9 years and 7 months, and chose to study abroad in Japan in 1963.
He returned to Korea in 1972 and won seven titles in 1977, marking the beginning of the ‘Cho Hun-hyun era.’
In 1980, the long-awaited 11th Myunginjeon challenge. Cho Hun-hyun won this match and became the first ‘all-crown champion.’
At the time when Cho Hun-hyun was sweeping the titles, Cho Chi-hun was making his presence known in Japan. When he was 6 years old, Cho Cho-hoon went to Japan to study baduk under the guidance of his uncle, Cho Nam-chul.
In 1968, at the age of 11, Cho Cho-hoon set a record as the youngest person to enter the Nihon Ki-in.
Cho Cho-hoon, who had said, “I will not return to Korea until I become a master,” finally won the Masters Tournament in 1980 and made a splendid return home.
In 1984, Cho Hun-hyun accepted an elementary school student as his disciple. The disciple’s name was Lee Chang-ho. It only took a few years for the baduk world to know his name.
Lee Chang-ho, who entered the professional ranks at the age of 11 in 1986, became the world’s youngest challenger in the highest-level tournament in 1988 with an incredible winning percentage of 75 wins and 10 losses. Although he failed to win the title due to the wall of his teacher, Cho Hun-hyun, he won the KBS Baduk King Tournament in 1989 and set a record as the youngest winner.
In 1989, Korean baduk began to take off when Cho Hun-hyun won the first Ing Cup.
Ying Chang-chi of Taiwan hosted the Ing Cup, a world tournament, with a prize of $400,000.
Cho Hun-hyun, who entered the tournament alone, defeated representatives from Taiwan and Japan and advanced to the finals, where he played a five-game match against China's Nie Weiping. With his indomitable will, he lifted the first Ing Cup trophy.
Korean baduk began to dominate the world, and at the center of it all was Lee Chang-ho.
Since the first world tournament was established in 1988, Korea has proven itself to be the world's strongest country by winning 22 of the 32 major world tournament individual events held until 1999. Lee Chang-ho won 12 of those.
Lee Chang-ho set a record of 41 consecutive wins in 1990, and became the youngest world champion at the 3rd Dongyang Securities Cup in 1992. The world baduk championship and Lee Chang-ho's performance brought about a baduk boom.
In the new millennium, Korean baduk, which became even stronger, achieved an incredible feat of winning 23 consecutive world championships, including team competitions, starting with Cho Hun-hyun's Fujitsu Cup victory in August 2000 and ending with Lee Se-dol's LG Cup victory in March 2003.
Lee Se-dol followed in Lee Chang-ho's footsteps.
Lee Se-dol was born in Bigeum Island in 1983 and entered the professional ranks in 1995 at the age of 12.
Lee Se-dol, who began to rise in 2000 with a 32-game winning streak, fired a signal flare for a generational change by defeating Lee Chang-ho, the number one player, 3-1 in the finals of the 2003 LG Cup.
In addition to the world championships, he also showed his strength against Chinese players by winning 19 consecutive matches in the captain's match in the China A League and winning the 10th game against Guri, living up to the expectations of baduk fans.
Korean modern baduk is facing a turning point. It is the transformation into a sport.
The efforts to turn baduk into a sport have borne fruit since the Korea Baduk Association, founded in 2005, became a regular member of the Korea Sports Council in 2009. Following the great success of sweeping gold medals at the 2010 Guangzhou Asian Games, baduk has become an official event in the National Youth Sports Festival since 2015 and in the National Sports Festival since 2016, solidifying its position as a true sport.
Korean baduk is changing as it steps into becoming a sport.
Following the existing Korean Baduk League, the Women’s Baduk League was founded in 2015 and the Senior Baduk League was founded in 2016, establishing a three-league system. In 2018, the Rookie League was added to provide solid support. It suggested the direction that baduk should take as a sport, and it also became a catalyst for the revitalization of the entire Korean baduk.
The advent of AlphaGo ushered in the era of artificial intelligence.
It was thought that computers would not be able to beat humans in baduk, but everything changed with the advent of AlphaGo in 2016. AlphaGo showed a move that overturned common sense and won 4 to 1 against the human representative Lee Sedol.
This incident, which seemed like it would be a crisis for the baduk world, instead brought attention to baduk, and various artificial intelligences have emerged since then.
We must overcome the crisis by expanding the base.
Cho Nam-cheol planted the seeds of modern baduk, and as a result, it dominated the world for a long time. Behind it were the efforts of many people who worked hard to popularize baduk, and efforts to expand the base of baduk are still ongoing. I hope that Korean baduk, which has endured and overcome any crisis, will once again show its strength. And at the 2022 Hangzhou Asian Games, where the adoption of the official rules of Baduk is likely, we hope to recreate the glory of 2010 and regain our reputation as the strongest country.
Taken on November 22, 2010
Writer: Narta Siregar / Composers: Narta Siregar
Wir verwenden Cookies und Daten, um
Wenn Sie „Alle akzeptieren“ auswählen, verwenden wir Cookies und Daten auch, um
Wenn Sie „Alle ablehnen“ auswählen, verwenden wir Cookies nicht für diese zusätzlichen Zwecke.
Nicht personalisierte Inhalte und Werbung werden u. a. von Inhalten, die Sie sich gerade ansehen, und Ihrem Standort beeinflusst (welche Werbung Sie sehen, basiert auf Ihrem ungefähren Standort). Personalisierte Inhalte und Werbung können auch Videoempfehlungen, eine individuelle YouTube-Startseite und individuelle Werbung enthalten, die auf früheren Aktivitäten wie auf YouTube angesehenen Videos und Suchanfragen auf YouTube beruhen. Sofern relevant, verwenden wir Cookies und Daten außerdem, um Inhalte und Werbung altersgerecht zu gestalten.
Wählen Sie „Weitere Optionen“ aus, um sich zusätzliche Informationen anzusehen, einschließlich Details zum Verwalten Ihrer Datenschutzeinstellungen. Sie können auch jederzeit g.co/privacytools besuchen.
