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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 (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: 丙午祟るまでこそ命なれ (Hinoe uma tataru made koso inochi nare)
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 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.

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), which is from the point of view of someone safely away from a raging fire consuming many homes in the distance. By Kiyochika Kobayashi. From ukiyo-e.

Most versions of Oshichi’s story begins with this horrible event, with it being the cause of the lost of her family’s house the first time around. Of course, she is not the cause of it. There also 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 most interpretations of Oshichi’s story parallels this disaster a good amount. 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 Deienji, 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 provocation, 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 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 is 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 the 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 philisophical 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!

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Researching Gems with Unique Content

A little bit of what I’ve been working on lately. An interesting find while reviewing documents online regarding shinobi-related manuscripts and comparing the contents with what’s in other widely known ones, such as “Mansenshūkai” (万川集海), “Shōninki” (正忍記) , or even some lesser known ones like “Gōbudenpō Kyūkenkyū Monomi no maki” (合武伝法急勌齅物見之巻). In an academic report written by Mr. Inoue Naoya¹, a 3-volume manuscript known as “Yamazaki ryū Shinobi no sho” (山崎流忍之書)² is introduced, which covers certain skills that lean heavily on what a shinobi, or better known under the modern-day word “ninja”, would need while working actively in the field. On top of this, a separate document is mentioned to accompany the manuscript, which possesses philosophical guidance & advice pertaining to kenjutsu.

A screenshot from the actual academic report. The introduction section, giving background info about where the manuscript is located, how it became known, etc.

The contents from the actual manuscript were handwritten, while Mr. Naoya and the help of others reproduced them digitally. For this article, we’ll take an overview on the contents from the manuscript as explained in the academic report. Since the report is in Japanese, I’ll be providing translations in English and, if required, explanations on what the contents mean.

BREAKING DOWN THE SHINOBI NO SHO

First let’s cover the Shinobi no sho. While it has been determined to have been written in 1754, the author is unknown, which is the same for the group in which the contents are tied to. A manuscript divided into 3 volumes, much of the contents appear to be based on tested and real-world knowledge on how to successfully perform duties as a shinobi. Here are the 3 volumes based on their titles:

  • Vol 1: Omotemuki no maki³ (面向之巻)
  • Vol 2: Shinobi no monogatari kudensho (忍物語口伝書)
  • Vol 3: Omokage no maki (面影之巻)

Each volume contains an abundance of info, covering important topics that can be compared to and identified in other shinobi-related documents, giving proof of their connection. Taking a look at the 1st volume, there are 13 points detailing specific topics of knowledge.Here’s an example of some of these topics:

  • 入用道具之事 (Nyūyō dōgu no koto)
    Carrying tools for breaking an entry
  •  闇所にて人を見る事 (Kurai tokoro nite hito wo miru koto)
    Spying from the shadows
  • 起臥を知る事 (Kiga wo shiru koto)
    Monitoring a target’s daily activities
  • 眠薬之事 (Minyaku no koto)
    Using sleeping medicine to incapacitate a target
  • 堀ノ浅深を知る事 (Hori no senshin wo shiru koto)
    Learning about holes of different depths
  • 道に不迷之事 (Michi ni fumei no koto)
    How not to get lost when navigating through your target’s territory
  • 手火之事 (Tahi / Tebi no koto)
    Possessing lighting implements

These all appear to be geared towards one’s task on a more subtle level, such as blending in to an enemy’s territory while keeping a low profile. This volume is comparable to the skills mentioned in the sections called “Yōnin” (陽忍), found in Mansenshūkai.

Outline of the contents from the Shinobi no sho.

Next we turn to the 3rd volume, which contains 17 points of topics. Let’s look at a few of the contents below:

  • 松明之事 (Taimatsu no koto)
    Concerning the use of torches
  • 穴立火之事 (Anadate hi no koto)
    Using rice straw as a quick means for setting fire
  • 無言薬之事 (Mugonyaku no koto)
    Speech-impeding (sensory restricting) drugs
  • 隠形之文大事 (Ongyō no bun daiji)
    Importance of being versed in the methods of hiding
  • 御符之事 (Gofu no koto)
    Carrying talismans and charms

There are apparently some advanced teachings, but they aren’t present in the document. Volume 3 gives a sense of taking more direct action, most likely at night, and when the enemy has to be confronted. Liken to the sections labeled “Innin” (陰忍) in Mansenshūkai, these 2 go hand-in-hand outlining tasks and the tools needed for them during different times of the day.

A surprising point one may gather from volumes 1 and 3 is the deliberate mention of using drugs and medicine; there are a good number of them listed that can aid in a shinobi’s mission, which include variations of incapacitating concoctions that render a target compliant in more ways than one. Ingredients for each one, however, are not shared within the current manuscript. Another point worth mentioning is the numerous lighting implements listed. Some are more obvious in application, while a few are left to oral transmission. This shows that the shinobi needed to have a good knowledge of working with fire-based tools and understand how to improvise with natural materials depending on the situation.

What about the 2nd volume? In this part there is a clearer, distinctive listing of the many different points (38 total) on how a shinobi should prepare mentally, how they should act in front of others in order to achieve their goal, the steps one should take when manuevering through a target’s home or territory, using incidents that cause hysteria as a cover to invade, and so on. A good comparison to these use cases would be the Shōninki, for those who are familiar with that manuscript and how indept it goes. Here are the following examples from volume 2:

  • One needs to learn a persona in & out in order for one’s true intentions not to be discovered
  • How to present oneself and win over the family of the house you must get in
  • Add another layer to hide your identity in the case where your current cover is being blown
  • How to deceive people through the use of sound, such as mimicking raindrops
  • The use of starting a fire in a home

There are some surprising topics, such as to never make a sound in situations where you have been hurt, or even on the verge of death. Also, a few of the topics steer towards putting trust in both Shinto and Buddhist beliefs, with one stating to call upon the aid of the Buddhist deity Kannon (観音菩薩) when hiding in the shadows⁴.

BREAKING DOWN THE KENJUTSU DOCUMENT

Now, let’s take a look at the accompanying document, which appears to be a listing of profound insight on kenjutsu. This document is labeled simply as “Hakutei iru” (白丁入ル), which an unusual term concerning martial arts; having more of a ceremonious connotation, in this case it can mean someone coming of age and entering society as an adult, which can be military lifestyle or simply becoming a common. Due to this document being part of the collection under “Yamazaki ryū”, there is speculation that it comes from “Yamazaki ryū Kenjutsu”. Looking at this further, family-run martial systems was common during the Edo period. On the flip side, the number of known families using the Yamazaki surname recorded was few. There was only one known to have been associated with kenjutsu, and their style was derived from Chūjō ryū.

Listing of the 3 Yamazaki families recorded to have their own form of martial arts. The one in the red box is renown for their kenjutsu originating in Chujo ryu. From Bugei Ryuha Daijiten 1963 edition.

Does that mean that this document on kenjutsu (along with the shinobi-related manuscript) belong to this Yamazaki family? Could the contents be linked to Chūjō ryū? While it is a possibility, there is no way to verify this due to no author being mentioned. On top of that, the contents themselves have no real connection to any sword system so to speak; the knowledge here can be viewed as either generic in nature, or interpretation-based strings of words. Depending on the person and their profession, anyone with competent understanding can follow them.

As mentioned earlier, this sword document is not an instructional guide on swordplay, but more like a listing of words of inspiration on a deeper, profound level for one trained in the Japanese sword. One part of it contains 11 uta or “poems” in the form of proverbs. As a whole, the knowledge here doesn’t have any true unique value style-wise, but more practical knowledge to those who are trained to actually fight.

Here’s a few of these poems:

  • Jishōken (自勝剣)
    A unique saying based on the idea of “overcoming one’s weaknesses and obstacles, and ensuring victory through one’s own strength”. This is geared towards swordsmanship.
  • Setsunintō⁵ katsujinken (殺人刀 活人剣)
    2 set of phrases that naturally go together, where your actions while wielding a sword are to help others (katsujinken) in opposition of another person wielding a sword to harm others (setsunintō)⁶.
  • Dokushin dokui (独身独意)
    A simple term, which expresses one to not lose sight of yourself and what you have to achieve. This includes not being sidetracked by others’ matters.
  • Taiyō icchi (体用一致)
    A version of a common lesson regarding “unity as one”, for this phrase dictates you must be in tune with both the body and actions. Through this, one can utilize a sword as if it’s an extention of the body.
  • Dandan shugyo (段々修行)
    An all-around phrase that is applicable in any occupation, a person must strive to achieve higher each day, surpassing even your past self every time. This can be viewed as words of inspiration for the receiver to continue their personal training with the sword.
  • Ishin denshin (以心伝心)
    A common phrase, meaning “expressing oneself without using words”.

While it’s commonplace to call knowledge like these as poems, in truth they tend to lean more towards proverbs. On another note, some of the poems were commonly used in both the martial arts field and Buddhism, due to both having a strong foundation in the concept of Zen (i.e. setsunintō katsujinken).

Screenshot of the Hakutei section, with several of the poems.

The final part of this kenjutsu document is “Ippo furyū“ (一歩不留), which stands for “going forward no matter what”. This section mainly serves as advice on how one should view their training and the type of person they should become, all compiled in 15 points. Here are a few of them below:

  • 剣術ハ闇路をたとる灯の　光のまゝに行ハゆかるゝ
    Kenjutsu should illuminate a path out of darkness, and lead a person to the light
  • 稽古をも真の勝負とつとめなは　実の勝負も常と成へし
    If a person engages in their sword practice as if fighting, then they will be sure to win in a real battle
  • 道理なく気精まかせに余の人と　仕合に勝は盲勝なり
    If you go into battle with a person who relies more on spirit and no reason, obtaining victory will be nothing more than riches falling into your lap

One can view this document as something a person would carry on themselves when not returning to their teacher and their dōjō for a long period of time.

CONCLUSION

We’ll wrap up the summary on this manuscript. As of recent, there are more antiquated documents from Japan’s historical past with unique contents such as this that are coming out from private collections, with researchers investing to bring them to the public light. While some are published in books, others, like this Yamazaki ryū Shinobi no sho, are analyzed and reported in an academic environment. I enjoy collecting those that are readily available and, when time permitting, sharing them here on my blog.

1) This academic report is from the literary collection kept in “Kyōto Institute, Library and Archives” of Rekisaikan in Kyōto City, Japan.

2) It is also categorized as just “Yamazaki ryū”, with the other contents being addressed as “Shinobi no sho” and “Hakutei”.

3) This is tricky to read. Other ways to read this includes “menkō” and “men no muki”.

4) Kannon is a female Buddhist deity worshipped as a savior for people in times of need, or helping them during difficult times that can lead to their doom. She is commonly described as using countless forms to aid people, each which conceal her true self. It’s such an ability of concealment like this that is dotted upon in shinobi-related documents.

5) Can also be read as “satsujintō”, although there are arguments that when this is used the meaning changes to “sword used to commit murder”.

6) There is another profound meaning in Buddhism, where a disciple uses unfavorable methods for harsh training that can later impact them in a negative way (setsunintō). On the other hand, a disciple trains in a progressive manner that has them become a better person as if reborn (katsujinken). For both phrases they are used when one is striving to reach enlightenment, whereas obstacles that prevent this are “cut down” metaphorically through training.

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Shirahebi, the White Snake Messenger of Benten

As the year is coming to a close, I present one last article on this year’s Zodiac sign, the snake. One point that must be repeated is the fact that under the Zodiac system, the snake represents many quality values, such as longevity, rejuvenation, and fortune. Through superstitions and stories, these values are sought after by the general populous.

In Japan’s case, there are snake deities that can be worshiped at designated shrines throughout Japan, which are especially highlighted during the year of the snake. Earlier this year I covered one by the name of Kyōgawa-sama, who was a savior to villagers during times of drought. Here are a few more.

  • Ryūjajin (龍蛇神), the “Dragon-Snake God”, is widely recognized as a worshiped deity at the shrine Ryūjajin Jinja (龍蛇神神社) by the coastal area Seto-ura of Ashibe Town, located in Iki City, Nagasaki Prefecture
  • Kanahebi (金蛇), the “Golden Snake”, resides in the Kanahebisui Jinja (金蛇水神社) in Iwanuma City, Miyagi Prefecture
  • Shirahebi (白蛇), the “White Snake”, is revered in numerous shrines around Japan, including 3 major ones in Tokyo City, Chiba Prefecture, and Nagasaki Prefecture.
  • Minokami Sugi (巳の神杉), “Snake of the Divine Cedar tree”, is tied to the legends of of the shrine Oomiwa Jinja (大神神社) in Sakurai City, Nara Prefecture

One in particular, Shirahebi, has many shrines dedicated to it. The story behind this is that the White Snake is a messenger for the deity of good fortune, Benten¹. Other than a messenger, it is also said to be used as a vessal for when Benten himself goes to interact with humans. As many shrines are visited for the sake of benefits such as receiving good luck, protection from disaster, or falling into wealth, the idea of paying tribute to shrines connected to Benten is very appealing, while it’s not unusual for shrines dedicated to the White Snake, due to its connection to Benten, to be held in high regard.

To the left is a shrine revering Shirahebi, which is found in Iwakuni City, Yamaguchi Prefecture. To the left is a statue in the liking of the Shirahebi, with the words “nade Shirahebi” (撫で白蛇, stroking Shirahebi) written below. From Photo-AC.

Just how did Shirahebi benefit humanity in the name of Benten? There are several stories illustrating its acts of goodness to those in need in the form of folklores. For this article, we will look at one entitled, “Jinrikisha ni notta Shirahebi” (人力車に乗った白蛇, The White Snake rides the Rickshaw). An old local tale from Chiba Prefecture, dating back around late Edo period. It gives an example of the many ways, as written in folklores, in which Shirahebi performs its duties. One of the many folklores recorded as important cultural treasure of this prefecture. The following site is where the version of this folklore used is taken from:

Below is the Japanese text, while the English text are translations done by me.

やけに静かな、そして月のきれいな夜のこと。

上野の不忍（しのばず）の池のわきで、車屋さんがいっぷくしていました。

「今日はちぃっと客が少なかったな。これ 以上ねばっても仕方あるめぇ。 もうここら でひきあげるか。」		On an unusully quiet night where the moon shone brightly,

There was a rickshaw man lounging near the bank of Shinobazu lake in Ueno².

“Man, there was so few customers today. Being out here any longer isn’t gonna change a thing. Might as well just call it a day and head on home.”
と 腰をあげたところ

「車屋さん、 車屋さん、 布施の弁天様まで 行きてえんだが、 いくらくらいでいっても らえるかねぇ」

と色白できれいなむすめっ 子が聞いてきました。		Just as he stood up, he heard a voice call out to him.

“Mr. rickshaw, Mr. rickshaw!” A young woman with fair white skin approached him.

“I’d like to get to Fuse no Benten-sama³ Can you please take me there?⁴ How much is the fare?”

To the left is a rickshaw being pulled by a rickshaw man, a representative of what is described in the folklore. To the right, a striking image of a pretty young woman, a possible representation of the likelihood in which Shirahebi disguised as. From Photo-AC.

あまりにもそのむすめっ子がきれいなもんだから、しばらく見とれてしまった車屋さん、思い出したかのように

「だいたい、いくらいくらのけんとうでいかれるよ」

と答えました。

すると、むすめっ子は前金と心づけをすっとわたし、ひよいと車に乗りました。きれいなむすめっ子に前金と心づけまでもらって、車屋さんも大よろこび。		The rickshaw man was captivated by the young woman’s beauty, and for a moment couldn’t take his eyes off from her. Regaining his senses, he replied,

“Customers can typically get a ride despite how much fare they pay.”

The young girl paid the fare and tip in advance, and with that, she sat in the cart and they took off. The rickshaw man was in great spirits over receiving both the fare and tip in advance from such a pretty girl.
「しっかりつかまっていてくだせぇ」というが早いか、いちもくさんにかけ出しました。走りながら

「ずいぶんと軽いな。若いむすめっ子だから、こんなもんか。」

おうらいもすくなく車も軽いので、本当ならゆうに一刻（いっとき）半はかかる道のりを一刻かからずに、布施弁天の入口についてしまいました。		“Hold on tight!” he exclaimed as the cart was traveling faster as he ran at top speed.

While running he commented, “Wow, you are very light. Carrying you is no problem, as expected from a young girl.”

Pulling such a light customer in his cart, he weaved through the numerous streets with no issues, taking a route that, while normally would take 1 & 1/2 hrs, got them to the entrance of Fuse no Benten in record time of about 1 hr⁵.
A pic of the shrine Fuse no Benten Tōkaiji in Kashiwa City, Chiba Prefecture. From Photo-AC.
車をとめて後ろをふり返ると、ふしぎなことにむすめっ子のすがたがみあたりません。はやく走りすぎて途中でおとしてしまったのではないかと思ったら、むすめっ子がすわっていたところがビッショリぬれているではありませんか

おどろいた車屋さんがあたりを見まわすと、弁天山のくらがりをはってのぼっていく白蛇が見えました。		Stopping the cart at their destination, the rickshaw man turned to his customer, but was confused when he didn’t see her. Just as he was contemplating about the possibility of her falling out of her cart while they were rushing through the streets, he noticed that the seat where the young girl sat was soaking wet.

Surprised, he quickly looked around the area, when he spotted a white snake slithering into the shadows of Mt. Benten⁶.
うすきみ悪くなった車屋さんは、きた時以上のはやさで上野に帰ったということです。Spooked at the sight, the rickshaw man ran back to Ueno in a record speed more faster than that used to get to Fuse Benten.

What’s the moral of the story? Fortune can come to one’s way when least expected, especially when in need. In the case of the story, this fortune was tied to doing one’s job. Through Shirahebi, Benten tested the rickshaw man’s resolve at a time when he was about to give up and go home due to a slow day with barely any customers. Shirahebi suddenly showed up with a request, and through a little bit of persuasion with paying a generous fare (and using the appearance of a pretty girl), the rickshaw man went over & beyond to carry his customer to their destination. Talk about lucky!

One thing to point out is the matter of the Shirahebi not showing its true form until after reaching Fuse no Benten. This isn’t unusual, for in many folklores deities of all kinds use disguises to interact with humans, sometimes to judge their character, to provide assistance, or help them in times of need. If the person reciprocates and goes accordingly, they are usually bestowed with a well-deserved fortune. The catch is, these deities’ true identity mustn’t be revealed, or else they will be forced to leave, halting whatever blessing or service they were providing. In the case of the rickshaw man, seeing the Shirahebi after receiving his fortune in the form of a generous fare was fine, for he had already completed the task.

ENDING

This marks the final look at this year’s Zodiac sign. Although personally I’m familiar with some of the positive standings the snake has in Asia history, this Zodiac year gave me more reason to do research and learned a great deal of historical information. For Japan, most of these are tied to temples and shrines, linked to deities like Shirahebi. For the readers, I hope you all can say the same as well.

1) Benten, or the full name “Benzaiten”, is a male deity categorized as one of the “Shichifuku Jin ” (七福神, Seven Lucky Gods) in Japan. Originating in Hinduism, then adapted into Buddhism as well as Shintō, this deity was known under different appearances, names and possessed varying benefits. The name “Benzaiten” is written a few ways in kanji, or Chinese characters, such as “弁才天” and “弁財天”. On a related note, since the prevailing image is that of a god representing material fortune, it is not surprising to find the kanji “財”, which means “treasure”, is used in his name.

2) This lake is located in present day Onshi Park in Ueno, Tōkyō City.

3) The label “Fuse no Benten” is linked to a network of three prominent shrines in Eastern Japan called “Kantō no San Benten”. They are as follow:

  • Benten-dō (弁天堂), located in Asakusa, Tōkyō City
  • Fuse no Benten Tōkaiji (布施弁天東海道), located in Kashiwa City, Chiba Prefecture
  • E-no-Shima Benten-dō (江島弁天堂), located in Fujisawa City, Kanagawa Prefecture

While there are more than one way to identify these 3 shrines (over time, different names were given according to circumstances and trends), they all are known as “Fuse no Benten”, which stands for “Charitable Benten”. The more respectful & familiar nickname of “Fuse no Benten-sama” is also common amongst locals.

4) As mentioned earlier, this folklore is tied to Fuse no Benten Tōkaiji in Chiba Prefecture.

5) The explanation regarding this small trip, if taken literally, is no less than amazing. Distance-wise, it’ll take about an hour if traveling from Ueno to Benten Tōkaiji Shrine by car for modern time standards. A rickshaw should take longer even at a running pace. However, since it took an hour in the story, and considering roads were becoming more easier to traverse during the folklore’s time setting, it demonstrates the rickshaw man truly hustled at a superhuman pace!

6) The label “Benten-yama” (Mt. Benten) is used to identify shrines of Benten that are on small hills. The shrine Benten Tōkaiji in Chiba Prefecture is built on elevated grounds, which gives it the impression that it sits on a mountain. This is an important preference, for historically shrines were built on mountains as a means to be “closer” to the gods who reside in the heavens.

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Motif of Sakura

Sakura (桜), or commonly known as cherry blossom in English, is one of Japan’s most revered flowers next to the kiku (菊, chrysantemums). It took time over the generations to reach this level, for early in Japan’s history another flower by the name of ume (梅,  plum) held this position beforehand, up until Nara period. From Heian period onward, this appreciation for cherry blossoms “bloomed”; as it was introduced into society alongside the development of new nice fields and crops, its appearance and and traits became very appealing to the mass. Many sentimental feelings, alongside auspicious meanings were tied to cherry blossoms that had influences within society over time. In fact, there is an old poetic line by those of the warrior caste that goes “hana wa sakuragi, hito wa bushi” (花は桜木, 人は武士), which compares the splendor of their petals in full bloom followed by their sudden withering due to the short life span of cherry blossoms to the glorious feats in battle of the samurai that will inevitably be cut short through untimely death by the blade of their opponents.

It isn’t hard to find artistic images of chery blossoms. Here’s an example of capturing clear details of several cherry blossoms fully bloomed, while petals are shown fluttering in the air like snow. From Photo-AC.

The love for cherry blossoms can be seen in paintings, artworks, crafts, and fashion. There is national pride in having images and designs in the liking of this flower, such as when the petals flutter down in the air like light snowflakes. Despite all this, there are situations where people also shown caution regarding the usage of cherry blossoms, to avoid what would be considered bad luck. For example, whereas many cherry blossom motifs were willingly used for clothing, products, and even on the weapons of warriors, there was significant hesitation to use it as a family crest. Why is that?

Some clues are linked to the origin of the cherry blossom. There are different tales that depict this, a few in the form of ancient mythological tales. They are from sources such as the Kojiki and Nihon Shoki, which speak of major deities inhabiting Heaven, while minor deities populating Earth. As tales like these were taken as truth in the past, they in turn shaped people’s minds as societies grew in Japan.

THE BEAUTIFUL SAKUYA

There is a prominent source to how the name “sakura” is linked to the manner in which this flower blooms. It’s tied to the popular tale of a goddess named “Konohana no Sakuya-bime¹” (木花之開耶姫²). Daughter of a mountain god residing in a shrine on Mt. Fuji, Sakuya was courted by and soon married Ninigi no Mikoto, the descendant of the Sun goddess Amaterasu. When Ninigi no Mikoto laid his eyes on her for the first time, Sakuya became immortalized through his statment about her beauty paralleled to blooming flowers which is the highest form since, in a fleeting moment, will eventually disappear like how flowers wither away. As a deity, she is worshipped as the goddess of growth of flowers & plants at the major shrine Fujisan Hongu Asama Taisha (富士山本宮浅間大社), as well as others. She is also recognized as the protector of safe childbirth, and child rearing due to her very strong personality as demonstrated in mythology³.

An artwork of Konohana no Sakuya-bime from the series “Fugaku Hyakkei” (富嶽百景) by Katsushika Hokusai.

Here’s where we arrive to a theoretical origin for the cherry blossom. It is said that at one point, Sakuya became possessed by the divine God of Harvest, traveled to the very top of Mt. Fuji and made the flowers there to bloom. This incident is then linked to Sakuya’s name, from which we get a play on this flower’s name in the following case:

  • SA = represents the God of Harvest, with “Harvest” pronounced as “sa” (稲)
  • KURA = inhabiting a vessel, with the action represented by the phonetic “kura” (座)
An artwork featuring Sakuya sitting amongst sakura trees. By Dōmoto Inshō.

The parallel of Sakuya and flowers is that her beauty is liken to that of flowers in full bloom. Yet this moment of beauty is fleeting, as the petals will eventually fall, and the flowers eventually wither away. As fragile as they are, blooming flowers are priceless even if for a moment, making them invaluable more than anything else, even more than a forever-lasting stone.⁴

FAMILY CRESTS

As mentioned earlier, imagery of sakura was very common throughout Japanese culture once it became popular in society. This became even more apparent from Edo period onward. This was also a period when kamon (家紋), or family emblem, became widespread not just amongst the elite, as having such a thing represented the longevity of one’s family line. See, one’s family lineage was valuable, and how this lineage was presented was very important, especially those prestigious ones with long history. Family emblems served this purpose, each using a plethora of imagery from almost anything from nature. These range from mountains, rivers, insects, plants, bird feathers, to even shapes. Through interpretations and varying superstitions, each can have powerful meanings that can bolster a family line’s standing in society, such as longevity, protection against ailments, bravery, and knowledge.

Entitled “Oka no Utage” (丘の宴), a scene of women of nobility attending a “sakurami” (桜見, cherry blossom viewing) event. Cherry blossom motif can be seen on many of the attendee’s clothing, as well as on the tapestry. By Kitagawa Utamaro.

A cherry blossom emblem, on the other hand, was not viewed in the same way. While there is beauty and sutble strength appreciated in the qualities of cherry blossoms, many people were in agreement regarding its dark & its ominous traits in how petals fall off at the same time, which signals how quickly this flower withers away. These traits are viewed as a bad omen when applied to a family emblem, as it could result to one’s family line ending. Thus, historically it was rare for any family to establish any form of cherry blossom family emblem openly as it wasn’t a popular practice. Still, this didn’t stop those who went against the norm and establish an actual cherry blossom emblem⁵.

Here’s a short list of those families who used one of the existing cherry blossom emblems:

  • Matsudaira / 松平
  • Hosokawa / 細川
  • Sengoku / 仙石
  • Sakurai / 櫻井
  • Yoshino / 吉野
  • Yoshida / 吉田
  • Aono / 青野
  • Masaki / 正木

This is a short list. Note that some of these families, such as the Sakurai family, are main branches. Later, some of them have branch families or extended families that follow suit and use the same emblems, including those cherry blossom emblems.

The following are cherry blossom emblems, from left to right and top to bottom: Sakurai zakura, Sengoku Kuyō zakura, Hosokawa zakura, Sakura, Yama zakura, Edo zakura. From Kamon no Iroha.

Here are a few of the types of cherry blossom emblems used:

  • Sakura / 桜
  • Sakurai zakura / 桜井桜
  • Hosokawa zakura / 細川桜
  • Yamazakura / 山桜
  • Sengoku Kuyō zakura / 仙石九曜桜
  • Edo zakura / 江戸桜

Each of these emblems have a unique meaning behind their design. Let’s take the Sakurai zakura emblem as an example. This presents a sakura growing wild in the mountains with a row of petals overlapping another row. Matsudaira families from old regions called Settsu (area between the north-central part of Osaka and south-eastern part of Hyōgō Prefecture) and Dewa (area in both Yamagata Prefecture and Akita Prefecture), whom have roots from the Sakurai clan, had this particular cherry blossom emblem a reserved one behind another that was used as their public emblem. It is thought that the Sakurai clan is connected to the establishment of the Sakurai zakura emblem. Next example is the Hosokawa zakura emblem, which features 5 petals, each with 3 pistils on top. This emblem was used by the Hosokawa family from Kumamoto domain of Higo Prefecture. However, there is another story stating that the Hosokawa family gained this emblem from Matsudaira Tadataka, whose roots are also from the Sakurai clan.

CONCLUSION

As this article comes to a close, I’ll reiterate about how there’s always something interesting to learn when research different topics in Japan’s history, no matter how small or obscure it may seem. Case in point, as the cherry blossom continues to be a flower beloved not just in Japan, but also appreciated by many all around the world, one would think that it’s seen as a flawless creation of life. Yet, there is one point of its qualities that would shun families from representing their own family line. This is due in part to the cherry blossom’s deep connection to auspicious beliefs ingrained in the livelihood of the populous, established by mythological stories once held in high regard as the origins of Japan itself.

1) Just for additional info, her first original name was Kamuatsu-hime (神阿多都比売) in the Kojiki. Later in the Nihon Shoki, the name was written as Kamiatsu-hime or Kamutaka-ashitsu-hime, as well as Konohana no Sakuya-bime. Seems like the last name sticks out more, thus what she is referred to nowadays. Another completely different name tied to her is “Asama no Ookami” (浅間大神).

2) There are different ways to write her name using kanji, or Chinese characters. Some using kanji for the sake of phonetics, and others that string kanji together to create a uniqe meaning. At the end of the day, there is no one “right” way to write this.

3) In Sakuya’s tale the event where she was pregnant with children between her and Ninigi no Mikoto unfolds as follow. The two had a discussion where Ninigi no Mikoto spoke doubt about the children being that of Earthly status instead of Divine status such as him. In opposition, Sakuya protested that their children will be that of Divine status. To prove this, she holed up in a room, and set fire around herself to demonstrate that only divine children can be born safely under such extreme conditions. In the end, Sakuya successfully gave birth to children that would also be recognized as gods.

4) This refers back to the original tale found in sources such as the Kojiki, when Ninigi no Mikoto seeked out Sakuya to request for her hand in marraige at her family’s shrine, her father presented another daughter named Iwanaga-hime (石長比売) as a better match. While Iwanaga-hime’s qualities were compared to the ever-persistence and long-lasting qualities of stone (which her name implies), Ninigi no Mikoto believed Sakuya’s beauty, likened to flowers, surpassed everything, and refused to accept anyone else besides her.

5) Note that many families possessed more than one family emblem at any given time. So just because a particular family decides to have a sakura emblem doesn’t mean that they have to use it publicly. Instead, they can use one of their other ones, and keep the cherry blossom emblem only for specific occassions.

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Looking at Chūjō ryū Techniques

One of coolest things about translating older documents that are related to martial arts is being able to decipher techniques, and compare them with what I’m learning. Some are more descriptive than others, so this is a case by case situation. One document I’ve been working on for some time now is a manual on the techniques from Chūjō ryū (中條流). Known for its swordplay, this manual covers the movements and ideology behind them through kata, accompanied with pretty detailed notes.

Example of 2 Pages from the Chūjō ryū manual.

This article will cover 2 of them, which coincide with techniques associated with Minamoto no Yoshitsune and his claimed short sword skills¹. What is provided here are interpretations of the description for the two kata. Sticking with the methodology associated with Chūjō ryū, I use a short sword liken to a kodachi, and an even shorter sword like a wakizashi.

The first kata is Ko Rannyū (虎乱入). In the manual there are several variations. The one presented here uses 2 swords.

DESCRIPTIONS

  1. Stand with swords in jūmonji formation (low)
  2. Enemy strikes for the face
  3. Block with both swords in jumonji formation
  4. Pull one sword back and stab enemy’s face, then cut down on right hand
  5. Step back and lower swords
  6. Enemy strikes with kesa giri to left shoulder, receive with right hand sword
  7. Direct enemy’s sword down to the side (ukenagashi)
  8. Step to enemy’s left while performing horizontal cut with right hand sword
  9. Circle behind enemy and finish with left hand cut

This is a pretty aggressive kata with 2 swords, which takes dexterity to use simultaneously. Some things to take from it includes the following:

  • Knowing when to block and when to redirect (ukenagashi)
  • Understanding how to create advantageous moments in order to use a free sword

The next kata is Hichō no Kakeri (飛鳥翔). Using a single sword, one moves quickly with agility through the use of an improvised attack.

DESCRIPTIONS

  1. Stand in a normal posture
  2. Draw sword and assume jōdan posture
  3. While maintaining distance, left hand pulls out a small towel from jacket
  4. Throw the towel at the enemy’s face
  5. Leap in and cut down the enemy with followup strike

The movements in kata particularly remind me of popular tales featuring Yoshitsune when he was young, and his use of throwing objects such as his sensu (扇子, fan) to distract his opponents in conjunction with his swordplay. A few words about this particular kata:

  • Make use of any item at hand
  • Followup strike is dependent on the enemy’s reaction to thrown object

From a research perspective, there are always something to take away from old martial arts documentations, and the manual for Chūjō ryū is no different. For myself, who is engaged in kenjutsu training regularly, I find these 2 kata quite informative, especially in the idea of wielding a shorter sword. It’s a shame that I currently could not present both kata with a partner, but I hope that the images, along with the descriptions, are clear enough to follow along.

1) This is in relations to the 2-part discussion on Minamoto no Yoshitsune and his combative knowledge found on this blog. Mention of the 2 kata can be read here.