Battle Formations ~ Part 1: Warring Period’s 8 Formations
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Battle Formations ~ Part 1: Warring Period’s 8 Formations

Strategies used by warlords for total supremacy during the warring states are often described in detailed recollections within the pages of Japanese historical documents, along with modern novels. It is not limited to those on the winning side, for war journals, manuals, and the like by families, commanders, and even warriors who made significant contributions on the battlefield, are held in high regard. For me, some of the more interesting sections I find are those that lay out info regarding the strategic make up of an army, which includes the gear, techniques, and methodology. Jinkei (陣形), or battle formations in English, is one that falls into this category, yet has a lot of shrouded mystery around it due to a lack of explanation even when illustrations are provided.

Battle formations used in Japanese wars is a topic I’ve wanted to write about for a long while. Bearing many variables such as truths and overall effectiveness, this is one that I’ve spent a long time analyzing, and am willing to cover in a series format. Amongst many conversations I’ve come across on said topic, is a set of 8 battle formations which were first discovered in one of Japan’s highly prided historical documentation, and have been popularly laid out in the heroic recollections of powerful warlords utilizing them to outwit and claim victory over their adversaries. How true is this? Today’s article will serve as part 1 of this series, and will be our first step in getting to the bottom of understanding what battle formations are truly all about.

ORIGINS OF JAPAN’S TOP 8

These 8 formations are nicknamed “Sengoku Hachijin” (戦国八陣), which can be translated as “the 8 Battle Formations of Japan’s Warring States”. There are more battle formations in existence, from earlier times to methods used for varying situations. However, these 8 that will be covered today are considered very essential during the peak of Japanese systematic warfare¹, helping to further develop tactics in future times. As the name implies, these 8 formations were historically recorded to have been created, and used in skirmishes by famous warlords, during the 1500s, which makes them recognized as valuable material of study by researchers.

Two leftmost panels from the artwork “Shinshuu KawaNakajima Takeda Uesugi Waboku zu” (信州川中嶋武田上杉和睦圖), where Takeda Shingen and his army maintain formation while in the middle of peaceful resolution with is long time rival Uesugi Kenshin. By Utagawa Kunisada.

Here are the names for each of 8 battle formations, accompanied with my English translations.

  • Gyorin no jin (魚鱗の陣, Fish Scale formation)
  • Kakuyoku no jin (鶴翼の陣, Crane’s Wings formation)
  • Engetsu no jin (偃月の陣, Crescent Moon formation)
  • Kōyaku no jin (衝軛の陣, Oxen’s Yoke formation)
  • Chōda no jin (長蛇の陣, Long Snake formation)
  • Hōshi no jin (鋒矢の陣, Arrowhead formation)
  • Hōen no jin (方円の陣, Squares and Circles formation)
  • Gankō no jin (雁行の陣, Geese’s Flight formation)

While the names may sound like systematic positioning and intricate patterns were deployed, in truth these formations were much simpler in application due to the more straight-forward, head-on clashes Japanese armies participated in. Since as early as Heian period, commanders relied on troops to rush forward, meet their weapons against the enemy and beat them back, while cavalry stayed mobile on the field to disrupt the enemy lines. Thus, having a group of warriors assuming a stationary position waiting for the opposition to fall for some elaborate plan on the battlefield wasn’t as common as one would imagine.

Around the 1500s, battles gained new layers of strategy. Better equipment were being used, while new weapons were slowly being incorporated. Warlords at the time were crafting cunning, and oftentimes underhanded, methods to outwit and overcome the opposition. Forming smaller squads and units, and having them deployed during battle to accomplish specific goals became more common during this time. This is where Takeda Shingen (1521 ~ 1573), a highly decorated warlord of Kai Province (present day Yamanashi Prefecture), cemented himself as a major player through incorporating those 8 formations within his army, having certain units use them to counter, confuse, and eventually outmatch his enemies. This was possible due to the cleverness of Yamamoto Kansuke (???? ~ 1561), a renown tactician and one of the Takeda family’s top 28 officers.

Resources used in my research on the 8 formations include (but not limited) the following:

UNDERSTANDING THE FORMATIONS

Now, let’s look at each of the 8 formations. Below are illustrations of how each are utilized by an army, which include key players & units used during Sengoku period. Each individual and/or group will be color-coded under the following:

  • RED = commander / team commander / leader
  • ORANGE = front line
  • YELLOW = 2nd unit / 3rd unit / mobile cavalry
  • PURPLE = commander’s personal guards
  • BLACK = back line / archers / gunners / etc.

Some things to point out before going forward. Formations found in military manuals, scrolls, or other documentations serve as a visual guide to build upon. They are neither to be taken as-is, or followed 100% strictly; due to the nature of conflict, environment, soldiers at hand, size & placement of the enemy, the progression of the battle at hand, etc. a commander or tactician may take liberty and change how the overall formation should be finalized both in shape and positions. Saying this, the illustrations provided are merely to serve as examples to give the reader a visual understanding of a possible use of each of the 8 formations. All illustrations feature the army facing towards the right.

#1

Gyorin no jin (Fish Scale formation)

A formation where the commander is placed in the middle of his army closer to the back, while the majority of the force is in the front. At first glance, the defensive capabilities of Gyorin no jin is pretty clear, which is why the name “fish scale” is used. However, in reality it possesses relatively good offensive traits as well. For example, we can use the imagery of a spear, where the front line is narrowed like point and charges through , while the rest of the troops behind gradually widening out all the way to the back line. The commander sits safely near the center, well surrounded by the army.

Other than offering all-around protection, Gyorin no jin can be used to pierce through the center of the opposing army, disrupting their formation, and ultimately wiping them out as they are left divided.

#2

Kakuyoku no jin (Crane’s Wings formation)

A formation compared to the splendor of a crane’s wings spread wide, where your army fights grouped together, then separates outwards. The wings create a “V” shape when extended outward, which dictates the strategic movements. In the diagram, the commander is at the back-center, and the frontline troops are at the front. As they approach the enemy army, the supplementary units (the 2nd and 3rd units) spread outward, creating a 3-way attack where the opposition has to not only deal with the frontal assault, but being swarmed from the sides at the same time

Outside of its ability to surround the opponent by enveloping them, Kakuyoku no jin is considered to have good defensive properties.

#3

Engetsu no jin (Crescent Moon formation)

Engetsu no jin is a formation liken to a half moon. There are 2 variations, with the 1st having the commanding officer take the lead in the center, while the troops curve outward and trail behind, while the 2nd has the commanding officer instead in the back in the center while the troops are ahead in a curving fashion. In either variation, the commanding officer is considered being active closer to the front line leading the charge to attack the opposing army head on, making them visibly present.

A rather risky tactic, Engetsu no jin demonstrates a moment when the army’s on the losing end and morale is low. In order to invigorate and, possibly, turn the tables in a dire situation, the commander charges forward before his army, using his act of bravery to rally his troops to stay firm and continue the fight.

#4

Kōyaku no jin (Oxen’s Yoke formation)

Visually this a wide formation, where troops form 2 semi-lines through the forefront troops and the back line, with each stretching to either side of the commander. Kōyaku no jin creates a shape which can resemble 2 oxen linked together with a yoke, allowing the army to create an impenetrable defense through this formation, or pincer the enemy by wrapping around them.

With the ability to react to a situation whether a threat is in the front or comes from behind, Kōyaku no jin is recognized for its high defensive traits.

#5

Chōda no jin (Long Snake formation)

In this formation, the commander has their troops grouped together in a long line, resembling a snake. Strategically, this line creates 3 parts: a head, a tail, and the body. The idea is everyone moves according to the line, which is more prominent on narrow paths. All parts focus their attacks forward lead by the head, while simultaneously protecting any part that is in danger from an enemy’s assault. (i.e. the tail end protects the head, the head protects the tail, the head & tail protects the body).

Chōda no jin is a simple line formation that can be easily utilized in narrow environments, without fear of being surrounded.

#6

Hōshi no jin (Arrowhead formation)


The foundation of Hōshi no jin is that of the shape of an arrow. With one look, we can discern the main parts, and the intentions behind its movements. For example, the commander is at the back (nock) directing the troops (arrowhead) in the designated direction. As the front line penetrates through the enemy lines, the 2nd units behind push opposition troops to the side, making a large path for the rest of the army to follow.

By design, the leader stands behind the troops, directing them like an arrow. Hōshi no jin prioritizes quick & rapid assaults, such as when targeting the enemy commander.

#7

Hōen (Squares and Circles formation)

The name “Hōen” implies that smaller squads form a defensive perimeter around the commander and the main army. 2 patterns are created by the smaller squads, one being a 4-way and the other an 8-way. While one can see the potential through the shapes of the formation, the following proverb may also give a clue behind this formation:

方円之器（ほうえんのき）

「水は方円の器に従う（人は環境や指導者によって良くも悪くもなる）」		 “Square and round vessels”

“Water takes the shape of its container (and people become good or bad depending on their friends).”

Establishing a near 360 defensive wall, Hōen no jin is a formation strong against an enemy army that attempts to surround and conquer, use sudden attacks, as well as invade through night raids.

#8

Gankō (Geese’s Flight formation)

This is a formation that has characteristics of the diagonal flight pattern by a flock of wild geese. The strategy here is the front most troops diverge at an angle while the rest of the army continues forward to confront the opposition. This sudden change of course by the smaller team of troops can open up opportunities for tricky strategies such as flanking attacks, or handling danger coming from a different direction.

Gankō no jin is a flexible formation, as it is advantageous when paired with other formations, as well as can provide additional defensive capabilities.

SHINGEN AND KANSUKE’S INSPIRATIONS

While the overall application and methodology in Japanese warfare makes them products of Japanese ingenuity, the concepts behind the 8 formations are not 100% so. Before their conception, different Chinese military sources reached the shores of Japan through cultural exchanges, and introduced the basis of battle formations.

Those who were privy to the contents of these foreign sources and could decipher their teachings incorporated them into their battle strategies. However, their full potential wouldn’t be unlocked until centuries later, when warlords fought feverishly to be the ruler of Japan and unite all the lands within this island country.

In present times, the discovery of these 8 formations, and the methodology behind them fall on one source, the military treatise called Kōyō Gunkan (甲陽軍艦). Credit is given to Takeda Shingen and Yamamoto Kansuke, the masterminds behind said topic. Within the 27th volume of the Kōyō Gunkan is a recollection of a conversation between the 2 individuals regarding the 8 formations, where Kansuke explains their roots from different Chinese military works². These sources provided the strategic foundation, framework for the individual organization, and the coded naming convention used for each of the 8 formations. Kansuke also went as far as staking a claim about his ability to decipher these foreign tactics in a way that no other warlords can³. Praise is given to him due to his insight in foreign tactics and his resourcefulness in making them accessible in unforeseen ways, as well as to his lord Shingen who, through his natural leadership skills, possessed the ability to command his army using the 8 formations to claim many victories.

What makes the 8 formations as described in the Kōyō Gunkan highly regarded is the unique manner in which the Takeda army utilized them, for the direction Kansuke and Shingen went with goes beyond an army assuming a mere strategic shape as a whole. This is discovered through reading the summary of different battles in the Kōyō Gunkan, although the formations used are not written in clear & descriptive manner. Japanese researchers spent time to break down the contents in each of these summaries to identify when, where, and how each formation came into play.

As a whole, the 8 formations as learned from exploits recorded in the Kōyō Gunkan differ from the Chinese sources in many ways. We can even go as far and compare them to versions of battle formations utilized by other warlords in Japan. Such arguments already exist, as enthusiasts spent time analyzing the overall effectiveness of battle formations used in Japanese warfare. The sole fact that the Kōyō Gunkan not only lists all 8 of these formations, but describes their uses in actual battles, makes it easier for researchers to depend on it as a resource in their studies, which is the reason why Kansuke and Shingen are credited to properly introducing the methodology behind the 8 formations⁴. To fully understand how Kansuke pulled this off, as well as how Shingen contributed to revolutionize battlefield combat would require a separate, dedicated article, which will be in the works later this year.

CONCLUSION

We come to the end of this introduction of the famous 8 formations from Sengoku period. In the next part, there will be further analysis of each one, followed by examples from war stories of Japan’s past.

1) To be more specific, this is before Japan became unified under one single ruler, and incorporated modern methodology through Western influences.

2) Records like Taiheiki (太平記) mention only a few names from the 8 formations existed in events before Sengoku period, primarily Gyorin no jin and Kakuyoku no jin. While there’s a possibility that few warlords learned about them (or, something similar) a few centuries before Kansuke did, opinions lean towards the use of exaggeration narration in records that were compiled later in Edo period, which then included a few of the 8 formations after contents of the Kōyō Gunkan became public knowledge.

3) The actual statement about the 8 formations, which was spoken by Yamamoto Kansuke, is the following (source: Kōyō Gunkan ~ Kōyō Sōsho, pgs 175~176):

“…諸葛孔明八陣の図を御屋形様御手前にて諸人の合点仕る様に和げなされ御尤にて候からの軍法一魚鱗二に鶴翼三に長蛇四に偃月五に鋒矢六に方勾七に衡軛八に井干行是よきと申ても日本にては皆合点仕らず候其儀晴信公御分別次第になされ諸人の是を能存る様になさるへき…”

4) Interestingly, a few of these 8 formations have actually made it to modern times, where versions of them are used in sports & competitions.

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A Horse-Themed Story about Manzō’s Goodwill & Honesty Repaid

It’s time to visit this year’s horse theme with an old Japanese folklore. Over the years, I’ve introduced various folklores that correlate with that year’s Zodiac pretty closely, and this time won’t be any different. Today’s article introduces one called “Manzō and the Horses” (万蔵とウマ, Manzō to uma), a story told as so in Fukushima Prefecture, located on the eastern coast of Japan. Fukushima has a pretty extensive history as being one of the places where horses were raised, and were used for daily needs. There’s even an old tradition of horse racing called “sōma nomaoi” (相馬野馬追), which is still kept in practice as a cultural practice today.

Regarding this folklore, it’s actually based on a true story, regarding an individual and his actions that brought forth something significant to neighbors and travelers alike. What sets this folklore apart from its real counterpart is the storytelling aspect and the mythical theme that it centers around. It is categorized as a story of gratitude (恩返しの話, ongaeshi no hanashi), where when a person does something good for another, they will in return receive something back. Usually, the one who does the good deed is a human, while the other who pays back the good deed is a divine being. Along with this, this folklore demonstrates not only the qualities synonymous with the horse zodiac sign, but the significance of actual horses; their role being multifaceted, not just how they parallel some of the key points regarding this year’s Zodiac predictions, but how they fit into Japan’s past society: as a tool, as a commodity, a source for profit, and a means to connect those of different status.

This story comes from “hukumusume.com“, a site that hosts many fables originating from different prefectures in Japan. Below is the original Japanese text (left) and English transliterations by me (right).

むかしむかし、小坂峠(こさかとうげ→福島県)のふもとの村に、万蔵(まんぞう)という若い男がいました。

万蔵は心のやさしい正直者で、毎日のようにウマの背に荷物をのせて峠(とうげ)をこえていました。

ある日のこと、万蔵はかけごとで大負けをして、大事なウマまでとられてしまいました。		A long time ago, there was a young man by the name of Manzō, who resided in his home village up in the mountains of Kosaka Pass (modern day Fukushima Prefecture)¹.

A straight-lace guy with a kind heart, he climbed up the mountain pass carrying cargo on his horse² everyday.

One day, after taking a huge lost in a gambling game, Manzō lost everything, including his beloved horse.
An illustration perfect as a representation of Manzō and his faithful horse…at least before he gambled it away.

万蔵が夕暮れの峠の道をのぼっていくと、旅姿(たびすがた)の老人がしょんぼり石にすわっています。

「どうした？　じいさん」
　
万蔵がわけをたずねると、

「実はお金をつかいはたしてしまい、朝から何も食べておらんのじゃ」
と、いうのです。		As he walks up the mountain pass during sunset, he encounters a traveling elderly man sitting slump on top of a rock

“Old man, you okay?”

Manzō probed as he approaches the stranger. In turn, the elderly man responds.

“Actually, I haven’t had anything to eat all day because I spent all my money.”

「そりゃあ、お気の毒だな。おいらにまかせておきな」

万蔵は自分が無一文なのも忘れて老人を元気づけると、知りあいの茶屋(ちゃや)へつれていきました。

「ここで二、三日、ゆっくり体を休めていくといい。お金はおいらがなんとかするから。なんでもたくさん食ってな。はやく元気になるんだぞ。なにも心配はいらないから」

万蔵は老人を茶屋の主人にたのんで、家に帰っていきました。		“Ahh, that’s terrible, man. Well, let me help you out.”

Forgetting about his own troubles, Manzō cheers up the elderly man and takes him to a teahouse he frequents at.

“Hey, you can rest here for the next 2 to 3 days. Don’t worry about money, it’s not an issue. Eat to your fill. Don’t you worry about a thing, and get better soon.”

Speaking with an air of reassurance, Manzō left the old man in the care of the teahouse owner, and returned to his own home.

そして次の日の朝でかけてみると、またあの老人が、きのうの峠の石にすわっているのです。

でも今日の老人は、黒毛のたくましいウマを五頭もつれています。

「きのうのお礼に、このウマをさしあげよう。町へいって売りなされ」

老人は、にこやかにいいました。		In the morning of the next day, Manzō returned up the path to see how things were, and once again saw the elderly man sitting on top of the stone.

However, this time around the old man had 5 black-haired horses with him.

“As a form of thanks, I offer you these horses. Please take them to the town and sell them.”

The elderly man said with a smile.

「こんなに立派なウマを。・・・あ、あなたさまは、どこのだんなさまで？」

万蔵がたずねると、老人はニッコリわらって、

「この峠の上の、稲荷大明神(いなりだい
みょうじん)のつかいの者じゃ」

と、いって、けむりのようにスーッと消えてしまいました。		“What, these fine horses…me…? …Master, where exactly are you from?³

In response to Manzō’s inquiry, the elderly man chuckles.

“Me? I’m just a messenger of Inari Daimyōjin⁴, who resides at the top of this pass.”

After stating this, he disappears in a cloud of smoke.

万蔵は老人にいわれたとおり、五頭のウマをひいて町へいきました。
　
すると、「なんともすばらしいウマを、五頭もつれ歩いている男がいる」と、いう話がお城へ届いて、すぐに殿さまが五頭とも買いあげてくれたのです。		Manzō followed the elderly man’s instructions, and brought the 5 horses to town.

Conversations about “a guy leading 5 horses, all in magnificent condition” spread around town, which eventually reached the castle there. When the castle lord caught word of this, he immediately had all 5 horses bought.

万蔵は思いがけない大金を手にしましたが、もうかけごとはしようと思いませんでした。

その大金で峠に稲荷大明神をまつるお堂(どう)をつくってそこにすみ、雪の日や雨の日などに、峠越えで苦しむ人たちを助けはじめたのです。		Receiving a great sum of money much more than he could ever dream of, Manzō no longer saw any need to go gambling.

With the newly earned money, he had a prayer hall built on the pass where people could worship Inari Daimyōjin⁵. Through this, people suffering could begin to find salvation at the top of the pass⁶.

Present-day Manzō Inari Jinja in Shiroishi City, Miyagi Prefecture, featuring numerous torii (鳥居, Shintō gates) (left) and the worship hall (right). Interestingly, this shrine aligns with the folklore both in the founder, reasoning behind its construction, and location. From Photo-AC.

ところがある日のこと、お城からたくさんのさむらいがやってきて、

「お殿さまが買いあげたウマが、五頭とも消えてしまった。お前がぬすんで、ほかに売ったのではないのか？」

と、いうではありませんか。		However, things did not remain quiet. One day, many samurai from the castle came to Kosaka pass and sought out Manzō.

“The 5 horse you sold to our lord have vanished. Did you steal them, and sell them to someone else?”

They asked him something he least expected.

万蔵は、どうしてよいかわからなくなりました。

こまった万蔵は、お城にでむいてふしぎな老人と出会ってからの事をぜんぶ話しました。

すると、万蔵の話をきいた殿さまは、

「お前をうたがってすまぬ。これはきっと、正直でやさしいお前に神がやどったのじゃろう」

と、万蔵をほめたたえという事です。

おしまい		At this point, he didn’t know what to do regarding the missing horses.

The stumped Manzō made his way to the castle, and before the castle lord explained the whole matter concerning the mysterious old man.

After listening to Manzō’s explanation, the castle lord understood completely,

“This is a matter where the god (Inari Daimyōjin) was favoring you due to your kindness. I’m sorry that I doubted you.”

He praised Manzō for his honesty.

The end

A FOLKLORE’S LESSONS

“Manzō and the Horses” features lessons ready to teach readers, especially younger ones. As with all old tales, it is not necessarily a perfect mirror of the real events they are based on, as details vary due to some being added or removed. Focusing solely on the folklore, these lessons are pretty simple to catch, especially when compared with the traits of the horse zodiac. Here are the following lessons we can take from this folklore.

#1 To help those in need

This one is straight forward. The main topic of this story was how Manzō helped a complete stranger, being the old man. This is more than a simple act, for he himself was broke and down on his luck. He could’ve just ignored the old man, go to his friend’s tea shop, and ask for food for himself. Fortunately, Manzō was very selfless and put another person’s needs before his.

#2 Your sincerity will be repaid (greatly)

Here’s the following lesson that’s baked in to the theme of the story. Manzō is genuinely a nice guy, and his efforts to help the old man was in no way superficial. Due to his kindness, he was in turn repaid by the old man (divine messenger) in a way that resolved his own issues completely. In other words, be nice to others and you will naturally build good karma and be repaid.

#3 Always be honest

This last lesson comes toward the end of the story, when Manzō speaks to the castle lord. Honesty is painted as an essential virtue, as he was able to resolve a misunderstanding by explaining the full story, no matter how absurd it sounds. In a sense, the main protagonist is a representation of the standard positive qualities attached to the horse zodiac: hard work, kindness, and dedication. Not only that, but we can identify a few of the negatives as well, which includes Manzō’s addiction to gambling and his stubbornness to stop, which led him to hitting rock bottom and even losing his beloved horse.

Along with these 3 lessons, we can see the different roles the horse plays: from an essential resource in everyday tasks, to a bargaining chip, and finally a commodity with enough potential to earn one’s fortune. The value of a horse is made apparent in this story, and was key throughout almost every interaction.

ENDING

We’ve reached the end of this folklore related to the horse zodiac. As simple as it is, I personally feel that readers can take something positive from stories like this. Hope everyone is also benefiting off of the good fortunes of the fire horse. Look forward to at least one more story about the horse zodiac to close out the year.

1) It needs to be clarified that Kosaka Pass was one of 7 paths in the mountainous area between Miyagi Prefecture and Fukushima Prefecture. Thus, the folklore has a connection to both sides. On a related note, Kosaka Pass is stated in historical records as being an important and widely used path, even by lords during processions.

2) This is a depiction of an umakata, or a transporter of goods by horse. It is very likely Manzō held this occupation, as it has a connection to the history of the actual shrine named after him.

3) This change of speech is a form of cultural custom of showing respect to someone who is either one’s benefactor, or wielder of magnificent resources an/ or influence. In this context, Manzō may have believed that the elderly man was either a wealthy noble or lord from another area.

4) Inari Daimyōjin is a standard name for the Shintō deity revered for bringing prosperous harvests for rice and grains, tea, and agriculture, along with success in the business world in modern times. This deity is also associated with foxes, as they are often depicted as messengers. Statistically, there are thousands of shrines dedicated in its honor around Japan. In real life, the name of the deity Manzō built the hall for was “Garamiki Inari” (賀良明貴稲荷).

5) Upon constructing this, Manzō most likely became the owner of the shrine…and possibly the shrine priest managing it…although this is not stated in the story. This tends to be the case in stories with similar events. In real life, Manzō did convert to a mountain ascetic after building the shrine, and managed it.

6) Manzō became a devoted follower of this deity due to the fortune he received from his selfless actions, and wanted others to receive the same blessings. This point in the story mirrors the real life story. In present day, there is a shrine called, surprisingly, “Manzō Inari Jinja” (万蔵稲荷神社). Its current location is Shiroishi City, Miyagi Prefecture, but this is after the original shrine was moved from Kosaka Pass. There are many parallels between the folklore and the real life story that’s associated with this shrine, along some very slight creative changes. To get a clearer picture, let’s review a quick summary about the Manzō Inari Jinja:

Manzō Inari Jinja was founded by a man named Kumatani Manzō (熊谷万蔵). Born sometime in the 1700s, he had the occupation of a transporter during his adulthood, nicknamed “Manzō the transporter” (馬方の萬蔵, umakata no Manzō). Rumors have it that on one night, he encountered an old man stranded on Kosaka Pass, whom he helped by providing this stranger a place with food and boarding. The next day, he met the old man once again, who thanked Manzō, claimed he was servant of the deity Inari Daimyōjin, and gave him 3 horses to sell. Believing this event was of divine intervention, he sold the horses, and in full faith used the money to built a small shrine with a hall of worship at the top of Kosaka Pass, where the deity “Garamiki Inari” (賀良明貴稲荷) would reside in for the purpose of providing protection to the locals and travelers alike.

This event sparked a change in his personal journey, for Manzō converted into a mountain ascetic (修験者, shugenja) after studying at a few temples within the 3 mountains of Dewa Sanzan (出羽三山) in Yamagata Prefecture, known as the mecca for mountain-related worship & belief practices. He became the 15th head of the Haguro mountain ascetic group (羽黒修験道), received the Buddhist name “Daiajari Kongōin Yuukan” (大阿闍梨金剛院祐観), and established “Kongōin Shugendō” (金剛院修験道) method.

In 1785, Manzō made the decision to have the shrine on Kosaka Pass moved to Yamagata Prefecture and had it rebuilt. In the end, he dedicated himself to his Buddhist practices to the point where he committed self-mummification (即身仏, sokushinbutsu) at the age around 80 to 81. After his death, the shrine was renamed “Manzō Inari Jinja” in honor of his life.

This information about the real Manzō and his life can be found on sites related to Manzō Inari Jinja, such as miyatabi.net, and miyagi jinjacho.com.

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Nōgaku and the 3 Stages of Evolution

Over the years, many articles here cover medieval Japan, from famous warlords, iconic battles, and legendary weapons. In some of these, theatrical actors and performers have also been mentioned, such as being granted important heirlooms from noble families. Who are these individuals, and why were they in a position to interact with powerful, influential people? To get an idea is to first look at their profession known as nōgaku (能楽), a traditional performing arts rich with cultural heritage. Nowadays, this is popularly represented through the theatrical performances of Noh (能) and Kyōgen (狂言).

To cover nōgaku in its entirety is a huge task probably not possible in one article. Instead, I will give an introduction to it and how it was received throughout 3 specific periods in Japan. These 3 periods were influences by the military class, the ruling shogunate during peaceful times, and the reception of the common folks.

WHAT IS NŌGAKU?

Nōgaku is the umbrella term used for theatrical entertainment, which can be interpreted through its name as “performing arts and musical entertainment”, although in actuality there are different categories of performing arts outside of nōgaku, each developed at different points in Japan’s history. If we make an attempt to look at the possible roots of nōgaku, then we can turn to the 4th-volume of the theoretical writings on the subject entitled “Fūshin Kaden” (風姿花伝) as a source¹. Entitled “Shingi” (神儀, Divine Rituals), this volume introduces a story that claims the forefather of nōgaku in Japan is “Hata no Kawakatsu” (秦河勝), a nobleman of the Hata clan who was also a skilled performer in his own rights during the 6th century-early 7th century. Kawakatsu’s greatest feat is single-handedly fulfilling the request of his host, Prince Shōtoku (聖󠄁德太子, Shōtoku Taishi) to perform an auspicious dance called “Rokujūroku ban no Monomane” (六十六番の物まね, The 66th Imiatation), which was able to ward off many calmities inflicting their land. The claim here is that the concept of theatrical performance was born from the miracle in this story, which in turn brings forth what we can call nōgaku.

Image of Hata no Kawakatsu. From Wikipedia.

The style of nōgaku, which is represented today through Noh and Kyōgen, is acredited to an older form known as sarugaku (猿楽)², where the performer(s) assumes character roles and play out stories through song and dance. This came into fruition and slowly grew throughout the ages from as early as the mid-early 1300s of the Muromachi Period, surviving over 600 years to the modern era.

KANAMI’S CONTRIBUTIONS

The long history of nōgaku and its survival to present day is accredited to Kanami (観阿弥), a sarugaku specialist, and his son Zeami (世阿弥). The two started their careers as actors in a performance group of their own during the 14th century, putting on short plays primarily during religious processions at temples and shrines. The theme of these short plays were more in line with the auspicious beliefs and practices tied to these establishments. At some point, other performance troupes began to try new things, such as wearing masks, wearing more colorful outfits, incorporating singing, enchanting music, and putting on intricately choreographed dances. Kanami and Zeami conformed with the changes as well, to the point where they became trend-setters, going beyond the expected as they evolved their simple performances into something more captivating with diverse tales that were outworldly and surreal.

3-panel artwork entitled “Higashiyama dono sarugaku kōgyō no zu”, or “A Sarugaku Performance for Lord Higashiyama”. This depicts a scene in 1465, where sarugaku performers (background) put on a show dressed up as warriors before the shogun Ashikaga Yoshimasa and his retainers (foreground) as they watch on in celebration of his wife’s pregnacy. By Utagawa Sadahide.

Through much effort, Kanami’s troupe’s craft grew over time as they gained attention from prominent groups. In time, nōgaku became a commodity of sorts through sarugaku as stylized through the father-son duo, along with other performance troupe that followed suit. The demand to witness the brilliance of nōgaku went as far as performance groups receiving permits to travel to those very elite families’ estates to entertain them.

Essentially, Kanami and Zeami are revered as pioneers of the direction nōgaku has gone to as we know it. The result is many of the famous performances are based on classical tales, which range from folklore, romance, to war stories. While some are original, many of these were already familiar to those from wealthy, prestigious families in the past, as they come from books they read or from stories told to them while growing up…but now these same people could experience those tales unraveling before their eyes in real life. What makes these performers so attractive are the following highlights: the wide usage of masks, the intricate movements during jigs, and manner of speech for storytelling through songs, all accompanied with lavishly flamboyant and colorful outfits, as well as bigger than life accessories such as wigs, props, and the like. Some troupes even incorporate props such as fans and mock weapons to captivate viewers. Other troupes added a flair of comedy to some of the stories they played out.

NŌGAKU FOR THE MILITARY CLASS

Let’s step back abit and examine the historical progression of nōgaku. Through the evolution of sarugaku, nōgaku gained a solid foundation later in the Muromachi period going forward as performance troupes grew into specialists of their craft, gaining high regard towards their skills in both acting and storytelling. So high, that prominent figures with military might and land control would commission them for special events and gatherings. As compensation, performance troupes received payments in the form of sustenance, such as baskets of rice. In other cases, they would be given currency such as coins, treasures such as weapons, or tradable goods like silks and high-quality clothing. The biggest payment of them all is earning patronage from a powerful lord, meaning receiving possible long term support.

This exclusivity would later have nōgaku earn the nickname “buke no shikigaku” (武家の式楽), with the reasoning due to it being categorized as ceremonial entertainment for the elite. Big names associated to such status includes the ruling Ashikaga clan during the Muromachi period, to competing warlords like Oda Nobunaga and Tokugawa Ieyasu during the Sengoku period. While many of the elite enjoyed nōgaku as pure entertainment, there were those few who resonated with it in the form of self expression. For instance, there are records of prominent figures like Oda Nobunaga and Tokugawa Ieyasu studying nōgaku, and performing privately in their quarters.

Screen shots of 2 famous nogaku plays, “Atsumori” (left) and “Takasago” (right). Both can be viewed on Youtube here and here.”

Let’s take Nobunaga and his love for “Atsumori” (敦盛) as an example. Atsumori is a theatrical play done in kōwakai mai-style (幸若舞, historical storytelling through song and dance), and is based on Taira no Atsumori from the famous war journal “Heike Monogatari”. There is a particular scene in the 3rd act, which retells the earlier moments of Taira no Atsumori as he recites a death poem, which goes as the following:

JAPANESE (ORIGINAL)ENGLISH TRANSLATION

人間五十年、

下天のうちにくらぶれば、

夢幻の如くなり
A person’s lifespan is that of 50 years,

Compared to 1 day within the realm of Geten³,

It is very short, like a dream or an illusion

This particular scene resonated with Nobunaga deeply, as he too must always prepare for death during the multitude of battle campaigns he took part in for the sake of claiming rule over Japan. As proof, it’s recorded in surviving documents that he performed the same scene within his residence on several occassions before significant events, such the night before heading out with his army to fight against Imagawa Yoshimoto at the battle at Okehazama (桶狭間の戦い, Okehazama no tatakai) in 1560.

NŌGAKU FOR THE SHOGUNATE

Nōgaku would continue to grow alongside the establishment of the Tokugawa Shogunate in the 17th century. This is due in part of the favoritism from Tokugawa Ieyasu himself, as well as continued support from the succession line of the Tokugawa family. Nōgaku was seen as a cultural property worth maintaining, thus was at one point labeled as “Bakufu no shikigaku” (幕府の式楽) as it utilized as ceremonial entertainment for events held in Edo castle for the shogunate.

As during the warring periods, nōgaku performers were commissioned to perform within Edo castle, where the Tokugawa shogun and family resided, as well as where nobles who work within the Bakufu. Their service became a standard during shogunate succession ceremonies. Along with this, nōgaku was designated for special occasions like weddings, coming-of-age ceremonies, and the like. Locations that hosted these events include the honmaru (the main grounds) where the shogun lived, and nishimaru (the western grounds) where the heir to the shogun position resides).

Artwork called “O-utaizome” or “New Year’s Noh Songs”, from the series “Chiyoda no on’omote”. Here, the Shogun and many lords from across the lands gather within the Grand Hall of Edo castle, whom present ceremonial robes as gifts to the Noh performers after they put on an excellent show for them. By Yōshū Chikanobu.

As mentioned earlier, the descendents next in line as shogun of the Tokugawa line maintained the importance of nōgaku, to the point where it became more than just for entertainment. A prime example is the 5th shogun Tokugawa Tsunayoshi, who was known for his unusually passion for nōgaku…to the point that this obsession became problematic to handle by those around him. This obsessive behavior is labeled as “nōgurui“ (能狂い). For instance, Tsunayoshi was not only enraptured with these performances, it is said he demanded these performers to put on shows during unusual situations, such as at times when he was sick. Tsunayoshi is also recorded to learn how to perform dances from the performances he watched, which was his personal preference. However, he also enforced others who were subjects of his or employed under the shogunate to learn the ways of nōgaku performances for personal development…much to their dismay.

Other famous individuals who fall under this phrase are actually well known swordmasters, such as members of the Yagyū family. Known for their swordsmanship through Yagyū Shinkage ryū Hyōhō, the Yagyū family have a long lasting relationship with nōgaku, starting with the founder Yagyū Sekishusai Munetoshi. As a sword instructor for the Tokugawa Shogunate, he was frequent in many shikigaku events at Edo castle. There, he became good aquaintance with Konparu Shichirō Ujikatsu (金春七郎氏勝), a nōgaku performer of the Konparu style (金春流, Konparu ryū) who was also competent in the sword and spear⁴. Through this, Munetoshi incorporated principles and concepts of nōgaku into the deeper teachings of the Yagyū swordstyle. Years later, his grandson Yagyū Munefuyu would contribute to the appreciate of nōgaku by constructing a stage within the Yagyū estate, where he and others could proactively study & practice this performing arts.

NŌGAKU FOR TOWNSPEOPLE

For most of Japan’s warring periods, nōgaku was a form of entertainment only accessible to the upperclass consisting of those with military might and land ownership; basically, those with influential power could afford to devise stages in their estate or castle and accomodate such performances. This mindset continued early into the Edo periord, as important events where nōgaku would be entertainment exclusive only to the shogun, their retainers, and invited nobles. These included proclamation ceremonies for new shogun, birth of the next heir to the shogunate, weddings, ringing in the new year, and birthday celebrations.

This exclusivity would soon change shortly after the establishment of the Tokugawa shogunate in the early Edo period. In the late 1600s, the 2nd Shogun Tokugawa Ietsuna made a decree where nōgaku could be performed for the viewing of the townspeople⁵. This was called “machi-iri nō” (町入能). It also went under the title of “onō haiken” (御能拝見). As a once-exclusive pasttime, nōgaku was allowed for public viewing events, which attracted many commonfolks to attend out of curiousity, as well as to finally experience a pasttime once considered exclusive.

A 3-panel artwork entitled, “Kyū-Bakufu Gotairei no setsu Chōnin onō Haiken no zu” or “Townspeople Watching the Noh Show in Celebration of the Newly Appointed Shogun”. People from different parts of Edo gather in Edo castle to watch a Noh performance, as they hold umbrellas presented to them when they entered the castle. The Shogun, along with his retainers and other supports, are also present in a separate area. By Yōshū Chikanobu.

This 1st showing was held within the large compound of Edo castle in 1603, within the very compound where the Tokugawa Shogunate established and conducted rule over Japan. To enter this important place, townsfolks were allowed to use the main gate Ōte-mon (大手門), which was originally designated for access by lords from other prefectures. Next, they were directed to assemble in the main grounds, and sit before the performing stage near the southern garden in front of the Ōhiroma. It is recorded that this 1st public-viewing amassed a whopping 5000 people! How accurate this number is, it’s hard to confirm as fact. It’s said that while the townsfolks and other guests assembled around the performing stage, the shogun had a separate seating arrangement away in a different section alongside with his family and close aids.

As time goes on, more areas around Japan established locations where townsfolks could access and watch nōgaku during major events such as festivals. This includes Matsuyama Castle in Iyo-Matsuyama Domain, and Nagoya Castle in Ōwari Domain. Castles used as locations were the most accomodating, since they generally had ample room to create designated performance stages within their grounds.

In time, as Japan steered towards modernization, nōgaku became more accessible to those who have genuine interest in this craft. No longer exclusive to a particular social class, those from the general public who enjoy theatrical performances can now buy tickets to most shows, as well as join special groups whose purpose is to support this craft, such as through offering introductory classes for learning purposes. Today, as a national cultural treasure, nōgaku is preserved through organizations such as The Japan Arts Council (日本芸術文化振興会) and Heiwa Shimin Kōen Nōgaku-dō (平和市民公園能楽堂).

CONCLUSION

We end here on this quick overview on nōgaku. Despite being a field specializing on theatrical performing arts, it was highly regarded by the elite, giving those performance troupes a lucritive career and access to interact with powerful individuals commonfolks could only dream of. Thank you for making it this far. Look forward to possible articles that delve in further into the world of nōgaku.

1) This is a 5-volume collection that contains many treaties about nōgaku, which includes tales of its mythological beginnings, methods of training, means to acquiring a wide range of acting skills, how to properly assume the roles of specified characters, and the overall stages a performer will pass through in their journey to perfect their craft. Written by Zeami, who is mentioned later in the article.

2) Sarugaku can be interpreted as “performing with the skills of a monkey”. To be more clear, the image of a monkey is that they are so clever, that they can imitate so many things. A theatrical performer is essentially doing the same thing when they take on the persona of a character or assume a role…thus the reason behind the comparison.

3) Geten (下天) is one of the 6 realms that make up the Heavenly space as told in Buddhism. This is the lowest of the 6, and is right above the human world. Time also flows differently within these upper tiers, whereas 50 days in the human world is equivalent to 1 day in Geten.

4) It is recorded that he was a practitioner of Yagyū Shinkage ryū kenjutsu and Hōzoin ryū sōjutsu.

5) There’s an exception to the exclusiveness of nōgaku. While there was the “premium” version only available to the upperclass, there was always a “standard” version. With sarugaku as a basis, it followed along earlier iterations, which were performed at temples and shrines. This would expand especially during Edo period, where such performance were done during the commemoration of successful construction and development projects, such as a new bridge. This type of public performance would then be called kanjin-nō (勧進能). The catch here is that commonfolks needed to pay some form of fee in order to properly watch kanjin-nō performances.

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Basics 101: Bending the Knees

Mobility is a core point in all martial arts. Ensuring we strengthen our legs on a regular basis is important. Standard leg exercises is good, such as running, squats, training with weights, and so on. Of course, there are martial style-specific leg training methods as well. For kobudō, leg strengthen is done with the purpose not just for power, but for basic structural endurance.

In Chikushin group, it is taught that bending one’s knees is a foundational principle that is simple, yet can impact one’s martial growth if skipped. Many of the methods used for this are naturally imbedded in our everyday training curriculum, so that students can strengthen their legs in a steady, progressive fashion.

LOW POSTURE

One method we use to strengthen our legs is to practice basics while maintaining a low posture. This can range from loosening one’s joints to performing movement drills. Practicing strikes, different walking patterns, etc. This is slowly integrated into our kihon gata (基本形, basics training), and can be done at one’s pace even during our own solo training. Structural endurance is one of the many benefits a person can get from dedicated practice.

Examples of maintaining low postures. From these we learn how to move, perform strikes, and so on while staying low.

Other than strengthen your legs, this type of low profiling creates good habits of executing techniques with the knees engaged naturally. As an example, it’s not unusual for people to unconsiously straighten their legs due to adrenaline during stressful situations while dealing with conflict. While there can be some good usages to standing tall at certain moments, balance and quick movements are typically compromised, especially while grappling. Performing drills where you keep your knees engaged and maintain a low profile helps to increase one’s chances of doing so without thinking about it. Our group uses kumiuchi (組打ち) practice to work on maintaining a low profile in order to take balance while preventing our blance from being compromised, and soundly perform throws against a training partner.

A comparison of when a person keeps their legs straight and can be easily tipped off balance (2 pics to the left), versus bending one’s knees to stay grounded and create stable footing in order to control one’s opponent (2 pics to the right).

SEATED FORMS

Another essential method used in our kobudo training is perform kata from a kneeling position. Some ryūha naturally have zagata (座形, seated forms), such as jūjutsu-oriented ones. However, for those systems that do not have these, then we can simply adapt tachigata (立形, standing forms) into zagata. Not only does this engage the knees, but is a great way to learn how to adapt in situations that transition to the ground.

Utilizing a rokushaku bō from a kneeling position and transitioning from one strike to another through a small jump. Note that this movement is not to gain height in the air, but to maintain a low profile.

Just like hand-to-hand systems, weapon systems can also be incorporated in zagata. Depending on the length, one needs to adjust to, as well as get comfortable with, dexterity and larger leg movements to make this work, which can produce fruitful results. Let’s take the rokushaku bō (六尺棒), or 6-foot stick, as an example. Most koryū systems feature some form of manipulation of this common weapon on the ground while kneeling during specific sequences and kata training. For some of the transitions, one needs to be able to switch from one knee to the other; sometimes this is through shikkō (膝行, walking through kneeling position), or through small, grounded jumps. As one would expect, this takes a lot of practice to get comfortable with. One can build their core by doing isolated drills of utilizing a bō from a kneeling position, such as striking and blocking combinations.

OVERHEAD SWORD CUTS

Lastly, here’s a good method that works as both a squatting exercise and sword-cutting drill. We practice a method called Ōkiri no tanren (大斬りの鍛錬). A kenjutsu-centric drill, one practices an overhead cut, bringing their sword up above their head as they stand tall, then cutting downward to the ground through a squat. In actual application, this trains the body to engage the knees in delivering a strong cut. During certain kata, this is apparent, especially for those that can fell an opponent as you coordinate power behind your sword and dropping one’s weight through one’s knees.

Performing Ōkiri no tanren.

CONCLUSION

Developing strong legs as a martial artist is imperative for future growth. It is not just dependant on outer muscles, but inner muscles developed through engaging bent knees. In kobudō this training is progressive and not rushed, for a student will be guided in, and challenged, to get better at doing this not just during class sessions, but in everyday life.

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Yaoya Oshichi : A Story about Love and Fire ~ Part 2

We continue with part 2 on the story of Yaoya Oshichi. This time around, we’ll look at the various details surrounding her story and how it affects different aspects of Japanese life. Also, there will be a few extra tidbits that have some connection that are unique in there own rights.

Another artwork of Oshichi climbing the ladder of a watch tower. This one also has a version of her story written on it. From the series “Kokon Meifuden” (古今名婦傳). By Utagawa Toyokuni.

CURSE OF THE FIRE HORSE?

Let’s address the underlining point behind Oshichi’s story, which is the significance of the Zodiac year. Oshichi is said to be born in 1666, which is a year that falls on the Fire Horse. If we examine more thoroughly, we’ll learn that in the 60-year Lunar cycle, the Fire Horse always falls on the 43rd year.

Below is a chart that lists the years of the Fire Horse, from the start of Edo period all the way down to future points in modern times (left to right, top to bottom).

1606166617261786
1846190619662026
208621462206etc.

Since Oshichi’s birth year aligns with this, rumors started to spread that she naturally had the tendency of being overtly passionate about love, which will lead her to go extreme lengths for forbidden love due to being overstimulated by her sign’s energy. This was promoted heavily through the novel “Kōshoku Gonin Onna” (好色五人女) by Ihara Saikaku, which came out around 3 years after Oshichi’s death. Although it was not the 1st source, this novel was received as a popular piece. Thus, Ihara’s work contributed to pushing those rumors as if truth, which eventually became a standardized ideology directed to any women who would be born on any of the years listed above. However, the reality is there’s no correlation between the Fire Horse sign and committing crimes. Oshichi shouldn’t be used as a scapegoat to push this narrative, for her crimes were committed based on her rash choices alone.

On the other hand, there are researchers who point out another inconsistency with her age at time of death. While it is believed she was 16 at the start of her story in 1682, Oshichi dying at the age of 17 means her birthday was early in 1683. But this is not consistent between the numerous versions of her story, where some say she died when she was 16. If we are to go with that, then this means she was not born in 1666, but possibly a year later. If this is the case, then this whole narrative of women and the Fire Horse sign was a complete fabrication.

PREJUDICE AGAINST WOMEN

Continuing with the above, there is a collection of defamations outlining the dangers of women that are born in the year of the Fire Horse. The majority of them focus on when these women fall in love. Interestingly, it actually didn’t start with Oshichi and her crime. In 1662, a poet/performer by the name of Yamaoka Genrin (山岡元隣) compiled a collection of poems and songs. In it was one that goes as the following:

ORIG: Hinoe uma narazuba otoko kui zaramashi (ひのえ午ならずば 男くいざらまし)
TRANS: A woman won’t lust for men, unless she is born under the sign of the Fire Horse

Apparently, this prejudice stems from much earlier, possibly as early as 1606. Unfortunately, there are no detailed records as to why. After Oshichi’s incident, this view against women of the Fire Horse sign intensified, becoming the norm across Japan as it was used as a basis in artworks, songs, and the like. The following are just some of the phrases in Japanese I was able to come across, followed by my English transliteration below.

Women born under the Fire Horse sign are portrayed as troublesome due to their intense love. In the follow artwork entitled “Uta makura” (歌まくら) by Kitagawa Utamaro, a woman is shown confronting her partner regarding his love letters to another woman, and overpowering him. Could it be that their wrath is something like this? From Ukiyoe are ya kore ya.

ORIG: Hinoe uma hiru no chigiri mo taenu beshi (丙午昼の契りも絶へぬべし)
TRANS: Women of the Fire Horse sign are only good to be with late in the day

ORIG: Hinoe uma tataru made koso inochi nare (丙午祟るまでこそ命なれ)
TRANS: When a woman of the Fire Horse sign risks her life for something, it will lead to others getting hurt

ORIG: Hinoe uma no onna naredomo sore ni wa yorazu, otoko ni kuwarete koko chi nayamishi (ひのえ午の女なれどもそれにはよらず、男に喰れてここ地なやみし)
TRANS: Women of the Fire Horse sign aren’t bad as they say, it’s just that once they are with a man, they lose their minds and common sense

ORIG: Hinoe uma no onna ha kanarazu otoko wo kuwaeru to yo ni tsutaeshi ga, sore ni kagirazu (丙午の女は必ず男を喰へると世に伝えしが、それには限らず)
TRANS: It’s known throughout the lands that women of the Fire Horse sign are renown for pleasing men, but that’s not all they’re good for

ORIG: Kanarazu hinoe uma no onna, otto wo kamu mono ni arazu (かならず丙午のおんな、夫をかむものにあらず)
TRANS: Women who are born under the Fire Horse sign are just not fit to be made a wife

Of course, all of these statements are baseless, and are stemmed from an unforeseen bias against women. In fact, there is no supportive data regarding disasteous marraiges with women who were born in the Fire Horse year.

THE GREAT FIRE OF 1682

In part 1, we established that Oshichi’s story begins with her family home catching fire on 12/28/1682¹. Different versions of the story also, from what I understand, use the same date. This actually coincides with a particular tragedy that befell Edo on the same date. While in the Tenna Shōishū it sounds like Oshichi’s family home being lost to a fire was an isolated incident, it’s also not wrong to consider that the fire actually affected many others within their neighborhood.

Let’s look at this horrific day documented as “Tenna no Taika” (天和の大火), or “Tenna era’s Great Fire”, and see how it parallels with Oshichi’s story. On the same date, a wild blaze caused hundred of homes and structures to be burnt down, claiming thousands of lives. It’s not recorded what the cause was, but it’s easy to speculate that, being a time when many families, businesses, and establishments are busy with events related to the close of the year, some unfortunate accident big enough may have occurred. In the aftermath, displaced residences took refuge at a large spare housing complex² which was in the grounds of the temple Daienji (大円寺). This disaster left a mark in Japan’s history, and is labeled as one of ten major fire calamities that afflicted Edo³.

As an example of a fire out of control, here’s an artwork entitled “Outbreak of the Fire Viewed from Hisamatsucho”(久松町ニ而見る出火 明治十四年二月十一日夜出火). It takes the point of view of someone safely away from a raging fire consuming many homes in the distance. By Kiyochika Kobayashi. From ukiyo-e.

It’s not wrong to assume that this disaster is the cause of the Yaoya family’s home. Of course, Oshichi is not the cause of it. On the other hand, there seems to be a perculiar version which implies that, when she set her family’s house on fire in order to see her lover again⁴, it spreads to other houses, and causes a disaster similar to the real life fire disaster. Some artworks depict this, with her climbing a watch tower to ring the alarm bell and beat the warning drums. In this version, as she descends the ladder, she is caught by authorities. Another point worth mentioning, some versions use the same set up of Daienji temple, but with a different name, sometimes closer to the name of another temple, or something completely made up.

With the Great Fire as the starting point, it’s safe to say that Oshichi’s story parallels what unfolded after this disaster to an extent, from displaced residents finding shelter to lost property being rebuilt. Note that all versions take the liberty of changing things so as to not match real events 100%, which includes dates, locations, and the number of households afflicted.

LATE ENTRY IN GOVERNMENT DOCUMENTS?!?

If Oshichi’s crime was true, it should be documented in the records associated with Suzugamori Prison. While one would assume this, apparently this is not the case. There is an official Edo government crime & punishment recording called “Oshioki Saikyochō” (御仕置裁許帳) which, suprisingly, doesn’t mention anything in the logs during 1683 about Oshichi and her crimes of starting a fire. However, in a 1691 log there is mention of a woman named Oshichi who was convicted of a crime. If this is the same person, why did it take 8 years to finally be recorded?

Let’s look further into this. The actual name in this log is written different as “お志ち”. This is in hiragana writing, which one can considered as a plain form. No kanji is used⁵, meaning it can’t be officially connected to the Oshichi from 1683. Also, it is noted that this Oshichi was a housewife, yet we know that the one in question was not married. Also, this one is said to be the wife of a man named “Kyūbei” (久兵衛), who was the head of the Sanaezaka (左内坂) household in Ichigaya, Edo. Other than the pronunciation of their names, the other similar point this woman has is she was also convicted for attempted arson, with her punishment being burned to death.

Was this inclusion in that record meant to rectify an oversight of being 8 years late? Can this information in the 1691 entry be considered the real details that were being concealed? This has yet to be confirmed.

OSHICHI’S DAY

March 29 is remembered as ”Yaoya Oshichi no Hi” (八百屋お七の日), or “Day of Yaoya Oshichi”. This is the day in 1683 when she was executed at the age of 17⁶. It seems unusual that someone who committed a crime would have a day of recognition. It is not a major holiday, nor one of celebration. Instead, this day serves some other purposes.

For starters, in the literary world, the idea of tragic love story is greatly highlighed by Oshichi’s story, so it serves as a solid candidate by fans of this genre. Next, this day is used to promote the importance of fire safety, and remind people that it is a crime to willingly commit arson. Lastly, some use this day as a reminder of maintaining a good relationship through expressing oneself earnestly, communicating through proper conversations, as well as possessing a healthy well being emotionally and mentally.

While there is a level of positivity with the points mentioned above, we can’t forget that this day also serves as grounds for further discrimination. This includes women born in the year of the Fire Horse, and parents avoiding naming their daughters “Oshichi”, as the name has become taboo due to association. On a sighly related note, the image of Oshichi and the numerous facades of her tale became popular at times, as if her notoriety was seen as a fad. It got to the point where the label “Oshichi-kaze” (お七風, Oshichi fever) was used for a case of influenza that struck Japan in the early 1800s, partly due to the popularity of a song about this same young girl and her tragic story.

OSHICHI’S GRAVE

In the front area within the compound of temple Enjōji (円乗寺), there is a small gravesite. It’s more than just her remains being kept here, for there are attractive banners, flowers, garden lanterns, and two paper lanterns. It’s a very attractive appearance. However, this is not the only alleged gravesite of hers, for there are more. This includes one at Kichijōji (吉祥寺), and another at Daienji (大円寺). The last one is unique as it claims to have the remains of both Oshichi and her lover. Which one is the true gravesite? Who knows. There’s a great possibility that none are the true gravesite of Oshichi, and merely serve as an honorary site, which is not an unusual practice.

Images of the 2 gravesites: Kichijouji (left) and Daienji (right). From Photo-AC.

The main reason for many of these temples to setup an honorary gravesite is due to their connections to Oshichi’s story…or should I say one the numerous versions out there. For example, the temple Kichijōji is used as the location where Oshichi and her family stayed in the popular novel “Kōshoku Gonin Onna” , albeit only in reference⁷. At the end of the day, these honorary gravesites serve as attractions, further contributing to the long-lasting popularity of Oshichi and her story.

GUARDIAN STATUES

While most view Oshichi’s story in a negative light, there are those who tried to put a positive spin on this. After her death, Oshichi was idolized in the form of a jizō (地蔵), or a statue of protection. Statues like these are normally made in the image of a diety, but nowadays they may also represent a person, or even anime characters. Their purpose is to grant protection in areas they are placed in. When based on an actual person, it is also said to be done to help “appease” the spirit of the deceased, to avoid bad energy or vengeful actions in case they were not properly laid to rest. Currently two temples are known to have her jizō, with the first being Mitsugonin (密厳院) in Oomori Prefecture, and the second being Daienji in Tokyo City.

An image of Yaoya Oshichi’s jizō at Mitsugonin. From Ota District’s main site.

Each of these jizō have their own story. For the one at Mitsugonin, Oshichi’s statue is nicknamed “ichiya jizō” (一夜地蔵), which indicates it’s ability to grant good fortune through completing a task in the span of one night. The legend attached to this name states that after Oshichi’s soul was transferred into the jizō, a medically ill young person was tasked to carrying it from Suzugamori Prison all the way to Mitsugonin. Accomplishing this in one night, the youth was unexpectedly granted good fortune and cured from the illness. Thus, it is believed that if you make a wish before the Oshichi statue, it is possible for it to be granted in one night.

As for the story behind the jizō at Daienji, this one takes a different, more logically reasonable turn. In this one, her lover who, after becoming a monk, prayed for Oshichi’s happiness in the afterlife. To ensure this, an ōfuku-nenbutsu (往復念仏, chant involving alternating recitation of the Buddha’s name) procession was conducted in Edo between the temples Meiōin and Asakusa Kannon for 25 years and 5 months. After the last procession, it is revealed that Oshichi appeared in a dream, and announced that she has entered nirvana⁸. Through this vision, the jizō in her semblance was made.

STRICT PUNISHMENT AGAINST ARSON

Despite no harm caused by her, the attempted act of arson on Oshichi’s family home was rebuked seriously in Japan during Edo period. So much that she was convicted and subjected to death through burning. Dishing out a severe punishment is a reflection of Japan’s history with fires. After the establishment of the Tokugawa shogunate and the restructuring of Japan to head towards a more peaceful and modernized nation, this opened the door of monitoring society. One of the points of concern that was recognized by the government was the increased cases of fire outbreaks.

The threat of fire outbreaks was of great concern for many reasons. For starters, due to Japan’s humid climate, along with most homes being bulit out of wood with paper materials used in furnitures within homes such as shōji (障子, room dividers), a small fire inside a building by an unmonitored candle fallen by a strong wind or the like could easily spread into a wild fire. Tragedies like so took place, where government structures, temples, homes, and establishments were lost due to sudden fires that turned into raging infernos. Another more concerning issue was fires set intentionally by certain individuals as a means to an end, which ranged from the sake of theft, personal grudges against another, to opposition of the Tokugawa shogunate. While fire fighting groups were established, the equipment and methods for extinguishing fires was in no way as sophisticated or technologically advanced as what we have today. Thus, when fires spread and grew out of control, fire fighters became hard pressed in trying to control the spread, let alone putting out the current blaze at hand.

To disuade any potential arsonists, as well as encourage people to be more responsible, the government created a set of rules around 1678 collectively known as “Shikkasha Zanzai Rei” (失火者斬罪令, Order of the Death Penalty to Those who Commit Arson through Negligence), which gave the rights to punish those caught as arsonists with the death penalty. This was further updated in 1742 as part of a 100-rules order known as “Osadamegaki Hyakkajō” (御定書百箇条).

A page outlining the start of Oshichi’s punishment as an arsonist, as she was tied and paraded on a horse throughout Edo. From the picture book “Ehon 2 Oshichi” (絵本 2 お七). By Miyata Isuke.

The following serves as examples how strict these rules were enforced. In one case, where there’s clear evidence of attempted arson through any form of communication (ie. a letter), that criminal will face the death penalty⁹. Next, those who intentionally start a fire for whatever reason, even if there is no significant damage, will be convicted and burned to death. Even passively being invovled would net you as an accomplise of sorts, ranging from those who hire someone else to commit arson being subjected to death, to eyewitnesses of an arson who fail to report it to also be severely punished.

Other than being sentenced to death through being burned alive, in some cases a convicted arsonist was tied up and paraded along a course through designated streets on Edo before townsfolks to be humiliated for their crimes. This same event happened to Oshichi.

This concludes our coverage on Yaoya Oshich. Despite there being unclear details of her story, coupled with a plethora of versions with varying contents, Oshichi has left a mark in Japanese history. Her story has had an influence in society, whether for good or for bad.

1) This is according to the old calendar Japan once used. Recalculated to the modern calender, it’s 1/25/1683.

2) This complex was known as koma komi (駒込). In the past before Edo period, such complexes were used to house troops, or act as a stable for horses.

3) While it’s claimed to be 10, I’ve come across listings that mention more than this number. While I’m uncertain which ones specifically fall under this count of 10, the disaster in 1682 is certainly a high candidate.

4) A few later versions actually feature Oshichi and her lover not only plotting to burn her family’s house down, but have both of them together committing the crime. In these versions, they both are arrested as arsonists and die together, making it a fitting end to a tragic love story.

5) In this case, it’s 100% true and false at the same time. Although a little complex to go into full details, I’ll explain it as simple as possible. The “shi” in this “Oshichi” (お志ち) actually is in a kanji form, but in the past this “志” kanji also served the purpose of being an alternative of the hiragana “し”. Thus, it is not used as the familiar kanji version, and is just plain writing as hiragana.

6) Oshichi’s age is always reported as being 16 at the time of meeting her lover, but 17 upon her death. It’s possible that at some time between these was her birthday. Yet, some researchers propose using the kazoedoshi (数え年) method of calculating one’s age, and add 1 year to her age, stating that she was 17 when they met. If that’s the case, then she was executed at the age of 18. It’s very confusing!

7) In the actual novel the temple was called “Kichijōin” (吉祥院). The last kanji was changed, as a parody of the real temple. Despite this, readers still associate Kichijōji to the novel.

8) Or, another way to read this is Oshichi entered Buddhahood.

9) Unless specifically stated as being burned to death, the use of the term death penalty is vague, as there were various methods for executing criminals. The punishment chosen was most likely in relations to the type of crime commited.

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Yaoya Oshichi: A Story about Love and Fire ~ Part 1

In the Lunar New Year article where we discussed about this year’s sign, I mentioned that there is the possibility of falling into ruins to those born in the year of the Fire Horse. To reiterate, the superstition is that anyone who’s Zodiac sign is the horse (i.e. being hard working and energetic) coupled with the fire sign from the 10 Heavenly Stems will receive double the effects in that year While there are good points to this, there is also the belief that one will became enraptured in their goals emotionally to the point where they become irrational, and going to lengths that can bring their downfall.

For several centuries is a tale told in Japan that depicts the dark side of the Fire Horse sign, with the catalyst being love. A strong emotion paired with a burning will to fulfill one’s desire will lead them to getting burned. In today’s article, I will cover this tale that is based on a real life incident of Yaoya Oshichi (八百屋お七), which is framed to be an example of a girl who allowed her emotions to go unchecked, and played with fire.

ROOTS OF THE TALE

The tale of Oshichi is a tragic one, with love at the center of it. It’s recorded to have taken place in Edo recorded from the year 1682 to 1683, gaining popularity as it slowly spread across Japan over time. There are different versions that speak of the passionate love this girl held in her entire being, which was comparable to a raging inferno. Such a statement can be interpreted as both literally and metaphorically, no matter which version of the story you read. What makes this even more interesting is that this story is supposed to have happened in real life.

The 1st recording of this story appeared in a collection of real-life events called “Tenna Shōishū” (天和笑委集)¹, which was compiled between 1684 ~ 1688. While it’s claimed to be a documentation of real-life experiences, one needs to take this with a grain of salt as the author(s) who compiled this is unknown. Later, other publishings covering this story, albeit with some changes, would also surface. This includes historian Toda Mosui’s “Gotō Daiki” (御当代記), the novel writer Ihara Saikaku’s “Kōshoku Gonin Onna” (好色五人女, 1686), and storyteller Baba Bunkō’s “Kinsei Edo Chomonshū” (近世江都著聞集, 1757). There are also theatrical performances and plays, each with their own spin on the story.

Pics taken from the 5th volume of the collection called “Shin Enseki Jisshu” (新燕石十種), which features a digitized version of the complete Tenna Shōishū. To the right is the page where the story of Oshichi begins (starting from page 107).

Below will be a summary of the version from Tenna Shōishū, as it was technically the first source to appear. Keep in mind that, while the incident is said to be based off of a real event, it’s possible that there is a bit of exaggeration with some of the details. Also, some of the names used are made, which includes those people involved, as well as locations. This move to keep certain things anonymous may have been done for specific reasons, including maintaining some level of privacy, and avoiding backlash for using specific info without consent.

OSHICHI’S STORY

This story takes place during the 1st century of Edo period. In 1666, a merchant named Yaoya² Hachibei Ichizaemon (八百屋八兵衛市左衛門), and his wife, who were residing in Hongō-Morikawachō³, an area in the capital city Edo. They had a daughter named Oshichi, who was the only daughter in the 3-children household. Being born in a family of a good social status, Oshichi was beautiful like a delicate flower. Raised in a well-to-do environment in the capital city of Edo, her parents raised her with the best from her early childhood to her teens, and groomed her in preparation for a future arranged marraige with a man from an established family.

An artwork entitled “Yaoya Oshichi”. By Utagawa Kunisada.

In the 28th day of the 12th month of 1682⁴, a fire erupted in the Yaoya residence. Ichizaemon fled with his family, taking refuge at a temple called Shōsen-in (正仙院)⁵, and resided there for a few months. During this time, a 17-year-old guy named Shōnosuke (庄之介), who was staying at the temple for some time, caught sight of Oshichi and became attracted to her. He made contact with Yuki (ゆき), the Yaoya family’s young maidservant who had also evacuated with them, and got help from her to formally introduce himself to Oshichi through a letter. Soon, both sides developed interest in one another, and got closer as they corresponded through letters regularly. Eventually, they set up private meetings, and spent numerous nights with one another secretly from her family, which went off with no hitches thanks to the cooperation of Yuki acting as a confidant who assisted with these meetings.

The many happy days enjoyed between these two love birds would eventually come to an end. While all this was taking place, Ichizaemon was busy having the family home rebuilt. One day, he announced to his family that their damaged home was restored, meaning they will be moving back there shortly. Oshichi was heart broken at the thought of leaving the temple, for this meant that she would be separated from Shōnosuke; since he did not possess an acceptable social status, there was no way he could be introduced to her parents as a potential suitor, preventing her from seeing him as often as she initially was. Later that same month, the Yaoya household returned back to Hongō-Morikawachō. Oshichi kept in contact with Shōnosuke through Yuki, who traveled between their home ant the temple delivering letters between the two lovers. At one point they came to an agreement for Shōnosuke to drop by her home and stay the night in secret. Unfortunately, reight before the appointed day, he became sick and bedridden from stress & constant yearning to meet Oshichi. Thus, they were further delayed from being together once again.

In the 3rd month, Oshichi made up her mind and wanted to force her family to return back to Shōsen-in Temple by burning down their home. So on one clear, windy night, she gathered the necessary materials, and proceeded to set their home on fire. Before any real damage was caused, neighbors had seen the small fire flickering and rushed on over, putting it out. They also spotted Oshichi not too far away, clutching the mateirals used for creating the fire, whom they quickly caught, and dragged to the magistrate’s office. Seeing the accused dressed in proper attire, the commissioner initially couldn’t fathom this girl to be an arsonist, and proceeded to ask what her motives were. She lied, saying that she was surrounded by thugs, and set the surroundings on fire in order to drive them away. The commissioner didn’t believe the story and, with no doubt regarding her starting the fire despite the reasoning, had her formally arrested as an arsonist.

A 1932 artwork entitled “Jōen” (情炎), which strongly appears as a modern take of a similar one featuring Oshichi climbing a watch tower to alert the townsfolks of the ensuing fire in Edo. By Takabata Kashō.

For several days, Oshichi was paraded around in Edo alongside with other criminals, tied & bounded, in public to be shamed for their criminal actions. She stood out the most, as she was wearing a beautiful kimono with her hair well done and adorned with a lavish ornament. In the onlookers’ eyes, apart from her stunning appearance, Oshichi did not show embarrasment in her eyes, but instead showed an assured face, bearing no ounce of regret. On 28th day of the 3rd month, she and the other criminals were lead through the streets toward the Suzugamori Prison (鈴ヶ森刑所)⁶, where they would face their death penalty of being burned at the stake. Some of her family members, such as her mother, looked on in sorrow as this would be their last time to see Oshichi alive. After their daughter’s execution, Oshichi’s parents were grief stricken for several months, before finally moving out of Edo to Kōshū⁷ with their eldest son, where they settled down to a quiet life as farmers.

Lastly, what happened to Shōnosuke? Apparently the romantic relationship between him and Oshichi was exposed throughout Edo, and became the talk of the town. Eventually, after enduring being in the public eye, he left Edo and traveled in his lonesome for some time. His journey led him to the renown Buddhist sect site called Kōyasan (高野山), where he would become a monk at one of the many temples there, and prayed for Oshichi’s spirit.

CONCLUSION

We’ve come to the end of the story about Yaoya Oshichi. A tragic one indeed, as her love made her become an arsonist. This article is just the 1st part, as we will disect her history a little further in part 2. Look out for that in a couple of days after this posting.

1) A 13-volume records of various cases, with Oshichi’s incident appearing in volumes 11, 12, and 13. Written and compiled sometime between 1684 to 1688. The author(s) of these records is unknown.

2) There is a possibility that this surname is made up, for it actually was used as a label for merchants who set up shop selling produce, or were a jack-of-all-trades. While in some name databases like myoji-yurai.net mention recordings of individuals using this as a surname, the numbers are very low. Along with that, this may also take into count names of fictional characters and/or performers.

3) Present-day, this covers a stretch of area around Bunkyo-District, Tokyo City.

4) In the actual text, the month is written as goku getsu (極月), which means the the 12th (last) month of the year. This is a time when many preparations are made in order to ring in the new year.

5) This temple did not exist in real life. Most likely a fabricated name to hide the actual temple involved in the arson case.

6) A prison used for about 220 years, where countless criminals were executed during Edo period. It was finally closed in 1871. Present-day, the area where it once stood is South-Ooi Shinagawa District in Tokyo City.

7) Present day Yamanashi Prefecture.

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Kenjutsu through 3 different swords

The word “kenjutsu” normally stirs up the idea of training in Japanese-style swordsmanship with the standard katana. In truth, this is more of a modern labeling. During Japan’s history of medieval warfare, the idea of kenjutsu was not limited to a sword of one size. This idea is retained in kobudō, and is put into practice in specified types of lessons, which is also upheld by our Chikushin group.

It is not impossible to apply the techniques of kenjutsu which incorporates a sword of specific length to, say, a sword of a longer length. In fact, it’s this same concept that was applied in the past (along with trial & error from experience), which can give birth to legitimate systems, such as kodachijutsu. This lies in the establishment of solid fundamentals that transpire in the multitiude of weapons one can learn in kobudō.

Some Japanese martial schools that possess various disciplines with different types of bladed weapons, each bearing a clear curriculum of skills, may be called a sōgō bujutsu (総合武術). There may be other non-curriculum content, such as sotowaza (外技), or skills that come from other martial systems not part of the current martial school’s philosophy¹, but in turn offer unique skills that prove beneficial. It’s from factors like these in which one can learn kenjutsu that can transpire across bladed weapons of varying designs.

In this article, I will demonstrate the similarities and differences in kenjutsu based on 3 types of bladed weapons, as well as the neccessity of understanding these finer points in order to use each one effectively. This demonstration encompasses fundamental skills that each of the weapons presented below share.

DIMENSIONS

Presented here are 3 bladed weapons, each of a different type that serves different roles: long sword, standard sword, and short sword.

LONG SWORD (NAGAMAKI): The first is a nagamaki. For starters, this features a 34″ blade, which is longer than the standard katana length of 27″. Along with that is an enlongated handle of 38″, giving the wielder a great reach advantage. A battlefield weapon that was once very devastating, whether on foot or while on horseback.

STANDARD SWORD (KATANA): Next is a katana, the common representation of Japanese sword. This one features a 28″ blade and 11″ handle. The katana accounts for much of what martial artists train with when studying kenjutsu. It’s not only crucial to be adept at using one, but also how to defend against it, since many weapon systems use lessons where one goes against an opponent who wields a katana.

SHORT SWORD (TANTŌ): Lastly is a tantō, coming in with a 10 1/2″ blade and 5″ handle. A bladed weapon that makes a good pair with a katana, but wouldn’t have been the 1st choice for use in combat. Still, it makes for a handy improvision when a bigger weapon isn’t readily available, especially since it’s common for people to carry something similar nowadays.

While the differences between the 3 weapons look daunting, a person can learn how to adapt the concepts of kenjutsu through dedicated practice. For example, while the katana features a common two-handed handle size, the nagamaki is unique as it can be utilized through techniques of both the katana and naginata due to its longer blade and handle. On the other hand, many Japanese martial school teach using a shorter sword against a standard one, allowing one to understand the principles of kenjutsu while wielding a tantō, along with developing dexterity in one’s movements to compensate for its short length.

The following scenarios below uses elements from the kenjutsu of Kukishin ryū to demonstrate how they apply to each weapon, despite their apparent differences. Note that, while Kukishin ryū has specific skillsets for each of these weapons, I will not be going in dept and comparing them to each other. The purpose of this overview is to analyze and compare the overall usage of each in specified situations.

#1 KAMAE – IKIYŌI (SEIGAN)

Here we take up a standard position of readiness, which most know as Seigan (正眼). According to each weapon, how this posture appears will be different, although the intention is the same.

NAGAMAKI – Much easier to control distance with the longer blade. On top of this, one can intimidate and take initiative through the additional handle length. This is achieved through te no uchi (手の内), or how one manipulates the nagamaki using different hand placements.

KATANA – Maintaining a moderate distance, we can keep a proper form. Through skills, one can be ready to either attack or defend when the opportunity arises. Those familiar with kendō can grasp this idea quickly.

TANTŌ – Extend arm to protect oneself and effectively anticipate an attack. Although your arm is more vulnerable this way, one can retract or adjust rather quickly due to a tantō’s light weight and balance point.

#2 KATA – TSUKE KOMI

Next, let’s see all three weapons in action. I will use the following kata, called “Tsuke komi” (附込), in where the main point centers on the defender using a thrust attack to close the distance and defeat an opponent who is open as they raise their own sword over their head. Going solely based on appearance, this kata illustrates the advantages and needed adjustments when performing a thrusting attack through each of the three weapons against an opponent who wields a katana.

NAGAMAKI – At any movement, the opponent is at risk of an uncontested thrust. We can also increase our advantange based on our hand placement on the long handle.

KATANA – Sharing similar reach with the opponent, you crouch down and thrust when a clear opening is made. Timing is still necessary to avoid aiuchi (相打ち, mutual strike that could lead to both killing each other), so speed and placement play an important part here.

TANTŌ – Wielding a shorter weapon, the opponent may be more willing to take the initiative and strike first. In most cases, you intercept with your free hand to neutralize their weapon, while simultaneously stabbing.

#3 UKEGATA – UKEKIRI

For this last scenario, we analyze how to beat an opponent’s overhead sword cut with a strong ukekiri (受け斬り), or cutting-like receive. The timing for this is to wait abit after the opponent commits with their attack, then move accordingly with a strong defense. The key here also lies in the footwork, where for each weapon the right foot is back. The ukekiri we deliver is possible based on how we step with the right foot.

NAGAMAKI – Maintain distance as you take a large swing and cut the attack away, while centering your body behind your weapon. Although slower, the impact from the nagamaki can plow through your opponent’s weapon when well-timed. We don’t extend our arms completely for this in order to maintain center control and balance.

KATANA – As you both move into striking distance, match your sword swing and body movement simultaneously to cut away the attack. You can extend arms abit to apply more power.

TANTŌ – Due to its short length, we step out of the path of the attack and cut into the opponent’s own sword from the side to knock it away. Turn your body sideways with the cut to generate maximum power.

ENDING

Here concludes this demonstration of how to weapons of different lengths can be compared in specified scenarios in order to adapt each one to be effective. This form of learning is but one of many in which practitioners at the Chikushin group can experience.

1) One common reason is the skills come from a certain martial style in which the teacher may not have proper licensing to openly teach. Another is they come from scrolls, being deciphered in its entirety but incorporating a teacher’s knowledge in their current martial systems to fill the gaps.

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Seijin no Hi: Coming of Age

January 12 marks “Seijin no Hi” (成人の日) in Japan. Interpreted as “Coming of Age Day”, those who turn 20 are celebrated as adults. These individuals attend a “Seijin shiki” (成人式) or “Coming of Age ceremony” in their local area, where they dress up in fine outfits; while boys generally wear a western style suit¹, girls adorn themselves in high quality furisode kimono (振袖着物). There are many establishments that hold some form of Seijin shiki, making it easy for these young adults to meet up with their peers, take pictures and celebrate together as they become legal adults.

A pic featuring girls dressed in fine kimono for Seijin no Hi. From Photo-AC.

CHANGES TO SEIJIN NO HI

Being a national holiday, Seijin no Hi falls on the 2nd Monday in January, but this was a recent change made in 2000. Before that, it was celebrated on January 15th. This day was also previously intended for those who turned 18, but the age was raised to 20 in 2022². Many small adjustments like these were made to accommodate other holidays that were observed close together.

GENPUKU

Another interesting point is how Seijin no Hi has its roots in much more ancient practices. Before this, boys would celebrate becoming an adult through a ceremony called “Genpuku” (元服), where they would don on a specific head wear to symbolize this growth, which would either be a kanmuri (冠) if they were from a family of nobility status, or an eboshi (烏帽子) if they come from a military family.

A woodblock print called “Narihira ason hatsu kanmuri yatsushi” (業平朝臣初冠畧), it’s an imaginary portrait of Lord Narihira (center, seated) going through his Genpuku. He is about to receive a very lavish kanmuri (left). By Chokusai Eisho, from MFABoston.

Girls too celebrated their own Genpuku, but they would get this honor through a different ceremony called “Mogi” (裳着). Here, they have their hair tied up in a method called kamiage (髪上げ), and dress in a special multi-layered kimono called mo (裳)³. This attire was designated for girls who were not married yet.

Dating back centuries ago, the age in where boys and girls became adults was much lower (around 11~ 16 for boys, 11 ~ 14 for girls). Both survived to the 1600s of Edo period, before receiving changes. Over time, these unique Genpuku celebrations that were enjoyed by the elite phased out, and later replaced by today’s celebratory style in which everyone despite their class can partake in.

ENDING

In closing, Seijin no Hi is a special day  many young adults look forward to. It symbolizing the transition from one’s youthful times to growing up and taking responsibility in life. Wish anyone you know who just turned into an adult a happy coming of age!

1) Boys can also wear a more traditional style monpuku (紋服), which entails a familiar kimono worn by men with a dark colored montsuki (紋付) top, and a white sensu (扇子) fan. Nowadays, very few boys dress in this for Seijin no Hi, while most would only turn to this for very formal events, if needed at all. On the other hand, those who choose to wear a monpuku have turned to a more flashier style, rivaling the colorfully appealing version worn by girls.

2) While the majority of areas, especially big cities, observe the holiday for age 20, there are few places that still celebrate Seijin no Hi for age 18. One of them being Mie Prefecture, although a different day is designated for the celebration of turning 18. Note that since the legal adult age is now 20 on a national level, 18-year-olds are still regulated by the law as minors, which prevents them from engaging in age-restricted activities (i.e. cannot drink alcohol).

3) The name generally implies 12-layer garment. It was not unusual for girls to be subjected to wearing something heavy like this. In fact, there’s accounts of some noble families going overboard and adorning their girls with a dress made of 21 layers! Fortunately, the dress for Mogi got regulated and became standardize to a reasonable number of layers at some point.

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Umadoshi: Charging into 2026

Welcome 2026! As the 1st post of the year, we start off with a review of this year’s Zodiac sign. For those who follow this on their own, or have seen related posts on social media, are aware that the Zodiac animal is the horse. Although the Lunar year officially starts on February 17th, there’s so much talk about it that many have been preparing in advance. What’s in the horizon for us under this hardworking & dependable animal? From the looks of things, this year is very dynamic and can either open the doors to great opportunities or unexpected challenges.

In this article, we will cover the natural perceptions the physical horse, and their roles in society over the ages. Following that will be the breakdown of the Zodiac sign, the components that make up the predictions for this year, along with some well known phrases & expressions.

An image of a horse representing the new year. From Photo-AC.

MANKIND’S BEST COMPANION

Looking at the history of the horse, whether Asia or other parts of the world, it’s not hard to grasp just how big of a role they have played. Whether carrying warriors into battle, pulling carts for passengers or goods, or running at breakneck speed to deliver it’s rider to their destination, the horse is a creature that has walked side-by-side with humans due to its ease in domestication and the various ways in how they help us.

The depiction of horses is just as amazing in myths and fables. Chinese culture helped plant the seeds for this, with many legendary tales depicting horses as powerful creatures, representatives of status for the aristocrats, as well as symbols of brave companions for great heroes. There are many interpretations of them possessing amazing traits or supernatural abilities, including tales of a particular half-horse, half-dragon hybrid. Japan was influenced by these through culturual exchange. With literary works, teachings from Buddism as well as Shinto teachings, Japan society also was graced with many vivid images of horses acting as messengers of deities, as well as transportation for them when they descend from the heavens to the earthly realm.

With horses bearing so many respectable qualities such a sturdy & fast legs, a strong sense of independence, and being a reliable companion to humans, the horse sign tends to be viewed in a positive light, usually bringing good fortune.

INTERPRETING THE ZODIAC

The year of the horse is pronounced as “umadoshi” (午年) In Japanese. Linguistically, the proper kanji for horse is “馬”, with the pronunciation being “uma”. However, the sign/kanji used to represent the horse in the Zodiac system is “午”, which had no association with the horse in its early conception within China until centuries later. How was it interpreted before this? During the earlier period when the Zodiac system was devised and was understood mainly through the seed/plant analogy, the “午” kanji possessed the meaning of a fully grown plant showing signs of withering.

When the Zodiac was interjected into society more, the horse imagery was attached to this sign, making it easier to remember amongst the masses. Through this, it became more natural for the sign’s readings like “energetic spirit”, “success”, and “the power to win” to be interpreted through human’s relationship with the horse.

ZODIAC USAGE IN EVERYDAY LIFE

The following below is a list of useful data concerning this year’s Zodiac sign and how it played a role in the daily lives of people in the past.

  • Zodiac number: 7th sign
  • Pronunciation: go (original)
  • Direction: south / true south¹
  • Time: between 11:00 am to 1:00 pm (usually points to 12 pm)
  • Month: 5th month (old calendar), 6th month (modern calendar)
  • Ying/Yang: yang
  • Element: fire

While not significant in modern times, there’s still use of these today in specialized fields. Here’s a few related tidbits pertaining to the horse sign:

  • It is one of the cardinal directions, being the opposite of north
  • Just as how the north and south poles do not meet², the horse sign and mouse sign of the Zodiac are generally said to be opposites, thus not getting along³
  • Represents the afternoon, when the sun is at its highest in the sky⁴

THE BLAZING HORSE

We’ve covered the Zodiac animal. Now, let’s look at the energy for this year. Following the 5 Elements and Ying/Yang concept, the energy for this year is light, while the 10-Heavenly Stems, in its 43rd year, falls on the fire element. The sign used in the 10-Heavenly Stems system representing fire is “丙” or “hinoe”. Together, this energy/element combo gives off a sense of a flame as big & bright as the sun, wrapping everything around in its warmth. When applied to humans, it means someone who is overflowing with vibrant life energy.

An image of a fire horse, blazing the ground with each step. Is it charging forward to glory, or will it burn out into failure? By Erkut2 from pixabay

As mentioned earlier, the horse sign is already associated with the fire element. In conjunction with the hinoe sign, we have double fire elements, which happens once in the 60-year Zodiac cycle. It’s easy to focus on this on a positive sense, such as “being fueled with passion and charging forward with near unlimited energy to see our goals completed”. However, there is also the negative side of this, such as being overbearing and blind through “passion”. Such a hot-headed, unyielding personality can lead to chaos.

Thus, with double fire energy coming from both the Zodiac horse and the 10-Heavenly Stems, we get the proper name for the year as “hinoe-uma”, or “fire horse”.

HOW TO APPROACH FORTUNE IN THE NEW YEAR

What’s the prediction for this year’s Zodiac? Normally, the Zodiac horse is read as a sign with good fortunate. In fact, it falls in line with the dog and tiger Zodiacs as being the 3 lucky signs⁵.

Those born in the year of the “fire horse” are said to have a fiery passion when approaching their tasks, and charge head on with an energetic spirit to succeed. All this is possible with little need for rest. For the sake of success, others born under different signs should follow suit in order to see fortune come their way, despite whatever obstacles that may come up. Yet, one must also be careful of burnout, and running headlong towards failure. To stay on track, we must take time to stop, be patience, take proper guidance, and possess a vision of what we want to accomplish and how.

While the traits are similar between men and women born in the year of the horse other than for some small differences (i.e. men enjoying their solo time, women more straight forward with their feelings), there are always those words of caution regarding avoiding disaster, sometimes told through old tales. For this year, there is a lingering superstition about women needing to take caution about letting their passionate emotion run amok. This is tied to certain real-life events that took place early in the Edo period. I plan to cover this in another article, so look out for that discussion later.

PHRASES & EXPRESSIONS

The Zodiac signs have no shortage of interesting phrases that have interesting, and at times humorous, meanings. There are plenty related to the horse, all fitting in many unique categories.

The following two are said to be good references to the 2026 Zodiac year.

  • ウマくいく / 馬九行久 (uma kuiku; quick horse)
    This means being adept to quickly take on any request at a drop of a dime.

    A little more on this phrase, it’s a play on words using the word “uma” and following it with the phonetics of 9 (ku), the 1st syllable from the word “to go” (i) and one of the phonetics of the word “long duration of time” (ku) to create the sound of the word “quick”.
  • 馬力 (bariki; horse power)
    A simple phrase wishing one to have a year where they are filled with strength and vitality.

Now here’s a select few. There are quite a good number of old ones here, with some dating back to ancient Chinese proverbs.

  • 人間万事塞翁が馬 (ningen banji saiō ga uma; a horse can represent the unexpected fortunes and hardships humans face in life)
    Reflecting the tone for this year, the meaning for this phrase is taking all that comes one’s way, whether it be good fortune or bad luck. In other words, accept the unpredictability of life experiences.⁶
  • 勝ち馬に乗る (kachi uma ni noru; ride on the victory horse)
    This is used when a person “rides” on the coattail of someone who’s on the fast track to success in order to benefit as well.
  • 千里の馬は常に有れども伯楽は常に無し (senri no uma ha tsune ni aridomo hakuraku ha tsune ni nashi; even if you have a famed running horse, it won’t be put to good use if there’s no skilled horse trader to evaluate its value)
    A well-known yet lengthy phrase that originates from the Chinese scholar Han Yu’s⁷ “Zassetsu”⁸, it stresses that a qualified leader can distinguish those who possesses outstanding abilities. Without this, those individuals won’t be able to shine.
  • 馬の耳に念仏 (uma no mimi ni nenbutsu; reciting Buddhist invocation to a horse)
    A phrase that paints a vivid image, but is not straightforward. The meaning expressed here is the uselessness of preaching to a person who doesn’t have the capacity to understand the topic. There are many types of expressions like this using the horse analogy, but worded differently.
  • 老いたる馬は道を忘れず (oitaru uma wa michi wo wasurezu; an old horse never forgets the road taken)
    We can interpret this saying referencing a person who is wise and has good judgement. These traits are apparent with how accurate they are able to handle an unforeseen situation, which is usually something earned by those with experience.
  • 馬子にも衣装 (mago ni mo ishō; the packhorse driver can also don on fine garments)
    The meaning behind this is that anyone, even those of low qualities or status, can look magnificent through wearing the right outfits.

ENDING

This covers the horse Zodiac sign for the new year. There are a few more articles being prepped to match the theme for this year. Until then, wish everyone to have a good start on any planned goals, and charge forward (with good judgement) to see them through to the very end!

1) There are 4 absolute directions, which are tied to a Zodiac animal equivalent: true north (mouse), true south (horse), true east (rabbit), and true west (rooster).

2) North & south are connected linearly on a perfect longitude of 0° and 180°. Speaking of which, in relations to Earth, the meridian line that divides the earth into east hemisphere and west hemisphere is called “shigosen” (子午線) in Japanese, which uses the Zodiac kanji for the mouse and the horse.

3) In terms of a person’s personality and compatibility, Zodiac readings normally say that the horse and mouse cannot get along due to being total opposites (i.e the horse being hard-working and independent, while the mouse being clever and opportunist). Of course, this should not be taken as fact.

4) The Japanese word for afternoon is “gozen” (午前), which also uses the same kanji for the horse in the Zodiac.

5) To elaborate, these three Zodiac signs form what is called “sangō kakyoku” (三合火局), due to their strong fire energy. This is according to a fortunetelling method called “Shichū suimei” (四柱推命), which incorporates the 5 Elements and Ying/Yang concept.

6) This saying is a complex one! A bit of investigation was needed here, even to understand how to translate the saying into simple English. To really grasp the meaning is to understand the origin. There is an old philosophical book called “Huáinánzǐ” (淮南子, Enanji in Japanese) compiled by scholars from Huainan area during the reign of Emperor Wǔ dì (159 bc ~ 87 bc) in China’s early Han Dynasty. In this book is a short story that lays the roots to the saying, which is summarized as the following:

“There was an old man who resided in a castle up in the north. One day, his horse had escaped the castle walls and ran away. Perplexed, the worried old man went out and searched for it. In the end, he not only found the horse, but also gained a few more that was accompanying it.”

There are a few more short stories tied to this saying, but the one above is a good representation using the horse analogy.

7) Han Yu (韓愈) (768 – 824) is a famous figure who was a writer, scholar, and government official during the Tang Dynasty.

8) “Zassetsu” (雑説) is a collection of theories and short stories compiled by Han Yu.

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Slithering out of 2025

As I write my last post of the year, I look back at how things progressed as a whole. Being the year of the snake, there was many mentions of falling upon fortune, or resetting oneself to become better. On a large scale, there was all sorts of money talk going on worldwide, especially politically. With so much international conflicts being televised, not all of it was on a positive level.

Snake passes the baton to the horse. Go 2026!!

On my end, much adjustments needed to be made. Relocating to a new state, I had to learn a new lifestyle; instead of the comfort of public transport and availability to almost all types of stores in a walking distance found in NYC, I now have to own a car and drive to most places in Michigan. In all honesty, much of this is a positive, and in it’s own way a form of growth for me. Leaving the fast paced life of the big city for a more relaxed environment opening up more time for focusing on my hobbies and research. As I get my life back on track, I’m feeling reinvigorated to write articles for my blog on a regular basis. Will continue to offer a variety of topics from Japan, some on traditional practices, celebrations, unique historical figures, and even on well known dishes!

Should have the new website up and running as well. Focus will shift a bit, for it will be less on promoting Chikushin Group as a martial arts group, but more of site pertaining to researching Japanese documents and offering translations on them. Budō training will most likely continue to be covered on this blog, as well as Facebook and Instagram.

Signing off as 2025 comes to a close in a few hours. Looking forward to “charging” ahead in 2026!