Janggi (including romanizations changgi and jangki), sometimes called Korean chess, is a strategy board game popular in Korea. The game was derived fr...
Janggi (including romanizations changgi and jangki), sometimes called Korean chess, is a strategy board game popular in Korea. The game was derived from xiangqi (Chinese chess) of China and is very similar to it, including the starting position of the pieces, and the 9×10 gameboard, but without the xiangqi "river" dividing the board horizontally in the middle.
Janggi is played on a board nine lines wide by ten lines long. The game is sometimes fast paced due to the jumping cannons and the long-range elephants, but professional games most often last over 150 moves and so are typically slower than those of Western chess.
In 2009, the first world janggi tournament was held in Harbin, Heilongjiang China.
The board is composed of 90 intersections of 9 vertical files and 10 horizontal rows. The board has nearly the same layout as that used in xiangqi, except the janggi board has no "river" in the central row. The pieces consist of disks marked with identifying characters and are placed on the line intersections (as in xiangqi and Go in China). Janggi pieces are traditionally octagonal in shape, and differ in size according to their rank. The sides are Blue (or sometimes Green), which moves first, versus Red. Each side has a palace that is 3 lines by 3 lines (9 positions) in the centre of their side of the board against the back edge. The palace contains four diagonal lines extending outwards from the centre, forming an "X" shape.
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RITHMOMACHY
Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is...
Rithmomachy (or Rithmomachia, also Arithmomachia, Rythmomachy, Rhythmomachy, or several other variants; sometimes known as The Philosophers' Game) is a highly complex, early European mathematical board game. The earliest known description of it dates from the eleventh century. A literal translation of the name is "The Battle of the Numbers". The game is much like chess, except most methods of capture depend on the numbers inscribed on each piece.
It has been argued that between the twelfth and sixteenth centuries, "rithmomachia served as a practical exemplar for teaching the contemplative values of Boethian mathematical philosophy, which emphasized the natural harmony and perfection of number and proportion. The game, Moyer argues, was used both as a mnemonic drill for the study of Boethian number theory and, more importantly, as a vehicle for moral education, by reminding players of the mathematical harmony of creation."
Very little, if anything, is known about the origin of the game. Medieval writers attributed it to Pythagoras, but no trace of it has been discovered in Greek literature, and the earliest mention of it is from the time of Hermannus Contractus (1013–1054).
The name, which appears in a variety of forms, points to a Greek origin, the more so because Greek was little known at the time when the game first appeared in literature. Based upon the Greek theory of numbers, and having a Greek name, it is still speculated by some that the game originated in Greek civilization, perhaps in the later schools of Byzantium or Alexandria.
The first written evidence of Rithmomachia dates to around 1030, when a monk named Asilo created a game that illustrated the number theory of Boëthius' De institutione arithmetica, for the students of monastery schools. The rules of the game were improved shortly thereafter by another monk, Hermannus Contractus from Reichenau, and in the school of Liège. In the following centuries, Rithmomachia spread quickly through schools and monasteries in the southern parts of Germany and France. It was used mainly as a teaching aid, but gradually intellectuals started to play it for pleasure. In the 13th century Rithmomachia came to England, where famous mathematician Thomas Bradwardine wrote a text about it. Even Roger Bacon recommended Rithmomachia to his students, while Sir Thomas More let the inhabitants of the fictitious Utopia play it for recreation.
The game was well enough known as to justify printed treatises in Latin, French, Italian, and German, in the sixteenth century, and to have public advertisements of the sale of the board and pieces under the shadow of the old Sorbonne.
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