Piece Moves
| a | b | c | d | e | f | g | h | ||
| 8 | 8 | ||||||||
| 7 | 7 | ||||||||
| 6 | 6 | ||||||||
| 5 | 5 | ||||||||
| 4 | 4 | ||||||||
| 3 | 3 | ||||||||
| 2 | 2 | ||||||||
| 1 | 1 | ||||||||
| a | b | c | d | e | f | g | h |
The game is played with pieces of four different colors as shown in the diagram. Each player has four pieces on the back rank with four pawns in front of them on the second rank. The four pieces are king, elephant, horse and boat (or ship in some sources). The king moves like the chess king, the elephant like the chess rook and the horse like the chess knight. The boat corresponds to the chess bishop but has a more restricted range, like the alfil in shatranj. The boat moves two squares diagonally in any direction as shown in the diagram, jumping over the intervening square. Note that this differs from most ancient chess-like games where it is the elephant which normally corresponds to the chess bishop. Play turns pass clockwise around the board.
The pawn also moves as in chess, but does not have the option of an initial double-square move. Each of the four players' pawns moves and captures in a different direction along the board, as one would expect from the initial player's setup. For example, the red pawns which start on the g-file above move left across the board, promoting on the a-file. Also, the pawn's promotion rules are different; one must promote to the piece that starts on the same file (or rank) of the promotion square (king included) and one can promote only after one's piece of that type has been captured.
Famous quotes containing the words piece and/or moves:
“Self-centeredness is a natural outgrowth of one of the toddler’s major concerns: What is me and what is mine...? This is why most toddlers are incapable of sharing ... to a toddler, what’s his is what he can get his hands on.... When something is taken away from him, he feels as though a piece of him—an integral piece—is being torn from him.”
—Lawrence Balter (20th century)
“The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist’s way of scribbling “Kilroy was here” on the wall of the final and irrevocable oblivion through which he must someday pass.”
—William Faulkner (1897–1962)