Today’s Halloween here in the States, so it is time to put out an article that goes with the occasion. There are rituals and processions that one would associate with occult practices, black magic, and spells. Some are so out there that they would fit perfectly as a thriller or horror film. In this article, we’ll cover one practice that is pretty out there, and could make for a cool costume!
Since Edo period, there was an unusual practice in Japan which may have roots to the divination system Onmyōdō (陰陽道) called “Ushi no Koku Mairi” (丑の刻参り)¹. This can mean “Late Night Ritual Procession at a Shrine²“. While the title sounds harmless, what takes place is not. Records on it state that this was a practice where when some women were slighted by a cheating man, whether be boyfriend or husband, they would embark on this personal journey of revenge at the back of a local shrine to place a curse on him. The origins of this is believed to have come from old texts dating back as far as Heian period (794 ~ 1192), such as the military text titled Heike Monogatari (平家物語) and a book of songs called Kokin Wakashū (古今和歌集). These have short inserts of a woman who becomes slighted by a lover who failed to keep his promise, and transforms into an oni (鬼, demon) through the will of an enshrined deity after praying to it at a shrine that houses it. With this new found strength, she swears vengeance and terrorizes the area. Fast forward to Edo period (1603～1868), cases of women going to shrines and performing a ritual in the dead of the night appear to have been a thing.
A ukiyoe depicting Ushi no Koku Mairi. The woman presented has a demonic look, as if transformed by the ritual herself. By Utagawa Kuniyoshi.
The purpose of Ushi no Koku Mairi was to put a curse on a cheating man that would bring him death. This was a means for a woman to successfully break any eternal ties with him, plus for him to face retribution. This process did take place behind a shrine, where there were plenty of trees. In advance, a tree would have to be chosen to where this ritual of vengeance would take place. The following steps would need to be prepared to make this all work:
white robe-like outfit with a white belt
metal band around or on top of the head
3 candles fixed at 3 points on the metal band
small mirror hanging from the neck
a small kushi (櫛, a semi-round comb)
high wooden geta (下駄, clog-like footwear)
long white sash with one end fastened to the body or belt
Of course, the most important items that are very critical for this ritual are a small straw doll, decent sized nails, and a metal mallet.
Instruments necessary for acts of revenge.
When it’s pitch-dark outside and the designated time frame is near, the woman must change into her outfit and, with no one around to see her, must run through the wooded area behind the shrine all the way to her designated tree. From there, she will insert the nail through the straw doll, and hammer it to the tree with her mallet, screaming obscenities throughout the process. Once the woman is done, she takes all her items and returns home. This process must be done for 7 days straight in order for her desire for vengeance to come true. It is expected that the targeted man will die within those 7 days. If not, then the process was a failure.
When you really think about it, the outfit may sound and look bizarre. However, there is a purpose behind this, which is to give the woman a rather demonic look. She is to appear as if she too has turned into an ogre as she carries out her mission, much like how it’s depicted in ancient tales. Here’s some more detailed info regarding the preparations for Ushi no Koku Mairi:
There are no special words or chants. The individual can use any words, labels, and otherwise, curses that best describe her target.
The long white sash encourages the woman to run as fast as she can and keep it up in the air as she makes her way to the tree used for the process. The reasoning for this is that the white sash must not touch the ground and get soiled before she reaches the tree, or else the process will not be completed. Take note that this is a difficult feat to accomplish due to the next note….
The type of wooden geta the woman must wear is the one with long ha (歯), or pegs. How long should the pegs be it is not stated, but one thing to keep in mind is that high geta makes it very difficult to walk, let along run.
Feet have to be bare while wearing the geta.
The comb must be carried in the mouth while running.
The woman must have her hair down and not tied. She may wash it ahead of time.
It is recommended to have “keepsakes” of the target that the woman wants to curse inside the straw doll, such as his hair or fingernails.
As mentioned earlier, this ritual was documented. In fact, there was even theatrical performances in the form of Noh (能) plays about this in Japan during Edo period. Now, as for the particular shrines that may have been used in Japan, one that stands out is the Kifune Jinja (貴船神社, Kifune Shrine) in Kyōto, due to the fact that was used as a source of power for a vengeful woman in the Heike Monogatari. Take note that this shrine is not designated for that purpose, nor is the deity that is worshiped there.
A painting of a woman perfoming Ushi no Koku Mairi on a tree near a shrine. Part of the series called “Hyakunin Isshu Ubaga Etoki (百人一首姥がゑとき) by Hokusai Katsushika.
As with many things that are based on supernatural occurrences, there is no real evidence that Ushi no Koku Mairi actually works, nor are there cases that anyone has died due to its ritual. Another interesting point is that while wishing ill fortune is not illegal in Japan, the practice of Ushi no Koku Mairi is in fact a crime. This also includes entering the grounds that belong to a shrine, which is deemed as trespassing, while hammering a nail into a tree is called defacing of private property.
CONCLUSION
Being Halloween, dark tales such as Ushi no Koku Mairi can be interesting and add an element of fun for the occassion. It is certainly one that has inspired manga, anime, and other aspects of pop culture. It does have a dark history with a theme that can be considered black magic. This ends our look at the practice of Ushi no Koku Mairi. Please remember, while the attire described in this article could make for a nifty outfit, the actual ritualistic practice is not really something to try…especially running in high wooden geta late night.
1) Also can be called “Ushi no Toki Mairi” (丑の時参り).
2) The word “Ushi” is related to the Ox zodiac sign, which is the same as this zodiac year. Ushi no Koku is “Time of the Ox”, which is the time frame 1 am ~ 3 am.
In part 2 of this series on popular stories & events highlighting the yari (aka Japanese spear), we go in the direction of legends. Japan has had its fair share of people, places, animals, nature, and things elevated to a level beyond normal existence. There are several cases like this involving the yari, especially the one called “Amenonuhoko” (天沼矛), which was used by the deity Izanagi-no-mikoto (伊邪那岐命) to create Japan and the world in old Japanese mythology. These objects of legends were first passed down from word of mouth, then to being jotted down in documentations, to now being depicted in pop culture such as video games and dramas.
For this article, we will look at three special yari that are labeled as “Tenka Sanmeisō” (天下三名槍), or “Three Great Spears of Japan” in English¹. Being real spears, we’ll cover when each was created, which individuals were lucky to be the owner, and whether they survived into modern times or not. Along with this, small but unique details that add to these yari being a cut above the rest will also be covered. Resources used to write this include the following:
The 1st of these legendary spears is known as the Nihongō (日本号)², believed to have been made during the Muromachi period (1336 ~ 1573). A large yari featuring a long blade with an engraving of a Buddhist depiction of a Kurikara dragon wrapping around a sword at the base. It also boosts a lacquered wooden shaft, and is well adorned with fine fittings. By design, it is considered an exquisite weapon designed as a treasured weapon of the Imperial family. Originally it was just known as an Imperial spear. It was later that when it passed into the possession of Toyotomi Hideyoshi, that he would give it the name “Nihongō”. This name can be interpreted as “No. 1 spear of Japan”.
It was considered the finest yari in existence that it was given the rank “Shōsani” (正三位), which is an official Senior Third Rank of the Imperial Court. Bearing such status, it is no wonder that it was recorded to having been passed down through the hands of individuals of high rank. The order goes as the following below.
The 106th Emperor Ōgimachi (1517 ~ 1593) is considered to have been the first owner of the Nihongō. He would at some point bestow it upon Ashikaga Yoshiaki, the 15th Shogun of the Muromachi period. For awhile it remained in the possession of Yoshiaki until he formed a working relationship with Oda Nobunaga around 1570. Being around the time when Nobunaga was rising in power, some sources say that once he learned about the spear’s origin being a treasured weapon from the Imperial Palace, he demanded it from Yoshiaki to the point where they almost went to war just for the sake of it. Other sources say that it was a peaceful exchange between the two. In any event, Nobunaga would successful claim the Nihongō. At some point, this yari was passed into the hands of Toyotomi Hideyoshi, Oda Nobunaga’s successor. Finally, possibly after his impressive service on the battlefield, Fukushima Masanori, a retainer of the Toyotomi clan³, was rewarded the Nihongō from Hideyoshi.
Artwork of Mori Tomonobu. From Wikipedia.
From this point comes interesting stories that illustrate the Nihongō’s whereabouts later down the generations. First is a tale about how Masanori would lose it to Mori Tomonobu (母里友信), a retainer of the Kuroda clan, in a drinking game. From there, it would remain in the Mori family line for several generations. Between 1800s to 1900s, it would once again get passed into different hands, but in the most peculiar ways. In one instance, an individual was able to purchase it for 1,000 yen (almost 9 dollars). Later, it would once again be bought, but this time for 10,000 yen (almost 100 dollars). It would eventually be acquired by a descendant of the Kuroda family in around 1920s. Finally, a museum in Fukuoka prefecture would acquire the Nihongō, where it is said to be til this day.
In honor of this Imperial spear, many smiths made attempts to recreate the Nihongō. Not just the blade itself, but its decorative fittings as well.
OTEGINE, THE MALLET SPEAR
The next spear is an interesting one, both in name, design, and origin. It is called “Otegine” (御手杵). This name means “Tapering Mallet”. It was created during the Muromachi period by Gojō Yoshisuke (五条善助), who belonged to a well known sword smith in Shimadashi, Suruga Province. It was made at the request of Yūki Harusaki, lord of Yūki castle in Shimōsa Province. Harusaki would keep its splendor alive through his foster child, Yūki Hideyasu. He in turn would then pass it down to his 5th son, Naomoto, who at one point also inherited the Yūki surname. One thing to note is that Hideyasu was originally from the Matsudaira clan, but was adopted into the Yūki clan at a young age. Due to the ties, the Otegine would be associated with both families, as it would be passed down to a few members of the Matsudaira family in later years as well.
Two pictures, with a clear view of a replica Otegine and its shaft on the left. To the right, the blade of the replica Otegine placed on a stand next to its mallet-shaped sheath. From Wikipedia.
Out of the 3 legendary yari, the Otegine is known to be not only the longest, but also the heaviest. The blade itself was a sight to see, as the blade was long and triangular design, and featured a rather deep groove that ran up through the center. It also featured an even longer tang, which made it solidly reinforced when fitted into the shaft, and allowed the user to perform sweeping cuts along with thrusts.
Here are its known dimensions:
Blade length = 138 cm
Tang = 215 cm
Shaft length = 215 cm
The name “Otegine” comes from the very unique sheath it is paired with. Originally, when Harusaki had the spear created, it came with a sheath that was wider at both ends, and tapers towards the middle. This shape resembled a type of mallet or pestle used for pounding mochi (餅, rice cake), thus the unique name given to the spear. At some point, Harusaki had a fur covered mallet-shaped sheath devised. This is for decorative purposes.
An example of a tapering mallet. From Wikipedia.
While its blade was tempered extremely well and has potential of being effective on the battlefield, its sheer size and weight made too cumbersome to be used proficiently. While it may not had seen use in actual warfare, the Otegine was symbolic and showed one’s status when heading to the battlefield. It is said that it would often be brought from the Yūki castle to the commander’s camp and used like an umajirushi (馬印, banner carried next to a commander’s horse) right before going into battle. There were even occasions during 1635 when Tokugawa Iemitsu, the the 3rd Shogun of the Tokugawa Bakufu, had the Otegina brought out and used as a symbolic lead during official processions by those of the Yūki clan and Matsudaira clan to Edo (present-day Tokyo). Note that carrying the Otegine was no easy feat, with or without its furry sheath, as its sheer weight was overbearing to be carried by just one person over long distances.
The Otegine’s last whereabouts was in the possession of the Matsudaira family, but tragedy would struck in an unexpected way. This spear was destroyed by fire bombings during WWII. Although it was stored away in a special containment, the heat from the fire caused by the bombings would melt the steel spear blade, and burn the shaft to a crisp. Unfortunately, this state left it impossible to repair. On a positive note, replicas were made of the Otegine in the early 21st century, and are up for display at several museums, including the Yūki Kurabikan (Yūki Collection Gallery) in Yūki City, Ibaraki Prefecture, and Kawagoe-shiritsu Hakubutsuken (Kawagoe City Museum) in Kawagoe City, Saitama Prefecture.
TONBOKIRI, THE DRAGONFLY SLAYER
The 3rd treasured yari is known as “Tonbokiri” (蜻蛉切り). Out of the three spears, this one is renown for its overall performance on the battlefield. Of course, credit also goes to the one who was wielding it as well — Honda Tadakatsu (本田忠勝).
Ukiyoe of Honda Tadakatsu with Tonbokiri in hand called “Honda Tadakatsu Komakiyama Gunkōzu” (本多忠勝小牧山軍功図, Honda Tadakatsu at Battle of Komaki Mountain”. The work of Mizuno Toshikata.
In the Muromachi period, The Tonbokiri was crafted by Fujiwara Masazane, a swordmaker from the Muramasa smith in Ise Province. It is a large spear, designed in the fashion of a “ōsasahoyari” (大笹穂槍), or “spear with a large bamboo grass-shaped blade”. On this blade are engraved 3 bonji (梵字, sanskrit symbols) above what looks to be a vajra-like sword engraving. From top to bottom, here’s what each symbolize⁴:
Jizō Bōsatsu, guardian Buddha of children and travelers, and deity known to be compassion for those suffering
Amida Nyōrai, Buddha recognized for infinite light and life
Kannon Bōsatsu, Buddha of compassion for others
It features the following known dimensions:
Blade length = 43.7 cm
Tang = 55.6 cm
Shaft = 4.5 m
Take note that the Tonbokiri was not the longest spear by the standard followed during Sengoku period. When this yari was crafted, Tadakatsu was already up in years. Apparently he found wielding the average length yari abit cumbersome, so he intentionally had the Tonbokiri’s shaft shorten by around 90 cm.
The name Tonbokiri means “Dragonfly Slayer”. This is because the blade of this yari is said to be so sharp that a struck dragonfly would be severed into 2. To top this, it’s said that even if this spear were not moving, a dragonfly that perches onto the tip of the blade would also be divided into 2. These claims elevate the Tonbokiri as a devastating weapon, even if they can’t be taken literally.
As mentioned earlier, the owner of the Tonbokiri was Honda Tadakatsu, who himself was a legend in his own rights. Tadakatsu was one of Tokugawa Ieyasu’s most trusted and loyal vassals during Sengoku period. A large man in stature since his youth, it is said he was a force to be reckoned with in skirmishes, as he participated in as many as 57 battles during his lifetime, and never sustained any damage. For his service, Tadakatsu was among Ieyasu’s top 16 generals, and was named one of the “4 Heavenly Kings⁵”.
While it’s not recorded that Tadakatsu’s successful career was all thanks to Tonbokiri, there is little argument that he did take it to battle. In historical records, along with Tadakatsu’s achievements due to his undying loyalty to Tokugawa Ieyasu, his prowess with the yari was noted. After his death, this yari was passed down his family line to his descendants for several generations. Today, it is in the safe keeping of a museum in Shizuoka, Japan.
THREE FAMOUS SPEARS: FUN FACTS
A good amount of info regarding the Tenka Sanmeisō was provided above. However, it’s not quite over as there are plenty more tidbits and rumors regarding the 3 yari. Below are lists of extra info for each yari.
Banner on Nagoya Touken World website promoting the project of replicating the Tenka Sanmeisou. Here, we get a clear idea of the details on these spear blades.
General
All 3 yari are considered ōmi yari (大身槍). What this means is that these are in a class of very long spears, especially with the blades they are outfitted with.
Originally, just the Nihongō and the Otegine were considered treasured spears. There was a comparison between the two based on the geographical significance of Japan predating modern times. The Nihongō was called the “great spear of western Japan” due to originating there, while the Otegine was the “great spear of eastern Japan” for the same reason.
Nihongō
The tang of this spear blade was unsigned. Speculations are that the spear was of the Kanabō style (金房派) of Yamato Province, but this has not been proven yet.
Despite its grand image, the Nihongō was not used in battle. There is one rumor that it was taken overseas during the invasion of Korea in 1592 by Mori Tomonobu, where it survived fierce battles. Unfortunately, there is no solid evidence to verify this.
Otegine
In the Matsudaira family, there are 2 legends about the Otegine. The 1st stating that when the sheath is removed, snow flakes fall down, while the 2nd is it will rain when it is leading a procession to Edo. There is no particular meaning behind these, but adds more sentimental feelings to the splendor of this yari.
Speaking of rain, it is said that the sheath’s fur absorbs water when it rains, adding more than 50% of it natural weight. Those who have to carry it during a procession on a rainy day had a lot of work on their hands.
Tonbokiri
What adds to the praise given to Tonbokiri is where it originated from. Mikawa is known to be home of a group of smiths labeled “Mikawa Monju” (三河文殊). Mikawa prefecture is known for many weapons being produced there, which many important people sent commissions to, including Tokugawa Ieyasu. These smiths were liken to miracle workers, as their products were rumored to perform better…as if they were magical. Since the Tonbokiri was crafted by a smith who is part of the Muramasa line, this was a major selling point.
It is said that Honda Tadakatsu had another spear commissioned, and that one was also named Tonbokiri. It is not certain that this is true, nor the reason being supposedly possessing 2 yari with the same name.
CONCLUSION
This here concludes this article on the Tenka Sanmeisō, and what makes them legendary weapons. With evidence of their existence, they are more than just rumors leaping out from the pages of history, as they have survived over many generations and made it to modern times (albeit the Otegine). The also ends this 2-part series highlighting the yari and its value in Japanese history. Hope this was enjoyable, as well as informative, regarding one of Japan’s strongest weapons.
1) Can also be pronounced “Tenga Sanmeisō” Also known as the shorter title, “Tenka Sansō” (天下三槍).
2) Can also be read as “Hi-no-moto Gō”.
3) Fukushima Masamori was introduced in part 1 of this series, which can be read here.
The yari (槍), which is the Japanese spear, was once considered the strongest weapon. Boosting a long shaft and large blade, it was advantageous on the battlefield. Some armies used yari that was up to about 20 feet, giving the wielders a great reach that kept them safe against enemies at a distance who were using anything shorter. It was to the point where the yari became a status symbol, and only permitted to elite warriors to train in. Yet, it has been overshadowed by the katana (刀), the Japanese sword that was considered to be the soul of the samurai from the Edo period onward. This is mainly in part of battlefield weapons being banned during the Tokugawa rule from the 1600s onward, and the adjustments warriors had to make with arming themselves with the next best thing.
Looking into when the yari made a huge impact was during the 1500s, which was the time period when many warlords utilized formations that involved soldiers being outfitted with this weapon. It was also during this period where the ideal image of a strong warrior was reflected upon those who rode into battle wielding a yari, dispatching enemy troops, and defeating other strong opponents. Notable figures were recorded who demonstrated exemplary skills while bearing this formidable weapon. A popular tag that begin to emerge in the pages of history-focused books was “Shichihon Yari” (七本槍), which refers to seven warriors who had displayed great bravery on the battlefield with the Japanese spear in hand during Sengoku period. For this article, we will look at the most iconic tale that portrays seven brave spearmen, along with a bit of twists due to actual accounts. Finally, we’ll touch upon different groups that are also hailed by this illustrious title.
SHIZUGATAKE SHICHIHON YARI
The most popular and renown group to bear the title goes to a select warriors who were employed under the ruling power of Toyotomi Hideyoshi. Here’s how their tale begins.
Artwork featuring few of the Shihon Yari called “Shizugatake Ō-gassen no Zu”, by Utagawa Toyonobu.
In 4th month of 1583, after the death of Oda Nobunaga, Toyotomi Hideyoshi rose up to claim the rights to continue his master’s vision of ruling Japan. He wasn’t the only one who had their sights on this goal, as he would clash in a power struggle against another former Oda loyalist, Shibata Katsuie. In 1583, they would meet both commanding an army of their own and exchange blows in combat within the rocky terrains of Shizugatake in Ika domain, Ōmi prefecture. This battle will be recorded as the “Battle at Shizugatake” (賤ヶ岳の合戦, Shizugatake no Gassen).
The outcome of this battle had Hideyoshi come out as the victory. What is significant to note is that he praised and gave honors to seven warriors for their exemplary heroics during the battle, whom are recognized today as “Shizugatake Shichihon Yari” (賤ヶ岳の七本槍, Seven Brave Spearmen of the Battle at Shizugatake). This was first mentioned in the 20-volume documentation “Taikōki” written by the Confucian scholar Oze Hoan (小瀬 甫庵) in 1626.
These seven warriors are the following:
Hirano Nagayasu (平野長泰)（1559~1628）
Wakisaka Yasuharu (脇坂安治)（1554~1626）
Katō Yoshiakira (加藤嘉明)（1563~1631）
Katagiri Katsumoto (片桐且元)（1556~1615）
Katsuya Takenori (糟屋武則)（1562~???）
Fukushima Masanori (福島正則)（1561~1624）
Katō Kiyomasa (加藤清正)（1562~1611）
Each of these warriors were not just random individuals, but were born in military families. Receiving the typical martial training many military families offer, they had their fair share of battle experience before the event at Shizugatake. It can be said that this battle did highlight their potential even more, elevating them up in rank even during the early years of Edo period in the 1600s.
DETAILS ON THE BATTLEFIELD
During the battle at Shizugatake, these seven individuals, wielding a spear each, are praised as being ichiban yari (一番槍). This title means not only being the first to engage with the enemy, but to do significant work that benefited the overall outcome for their side. Due to their high spirit and valor, they helped to turn the tides in the Toyotomi force’s favor of what was starting out to be a difficult battle. This was through gaining ground in areas around Shizugatake, as well as eliminating key figures on the Shibata force’s side, which caused a lost of morale amongst their ranks. Especially Fukushima Masanori, for he managed to take the head of Shibata Katsuie’s commanding officer, Haigo Ieyoshi (拝郷家嘉). Masanori received the highest reward of 5000 koku (石, stipend in the form of rice per year), while the others received 3,000 koku each.
Artworks of the seven warriors that represent Shihon Yari from Ochiai Yoshiiku’s “Taiheiki Eiyuden” (太平記英勇伝) series. From Left-right top-down: Fukushima Masanori, Kasuya Takenori, Kato Yoshiakira, Wakisaka Yasuharu, Kato Kiyomasa, Hirano Nagayasu, and Katagiri Katsumoto.
Other acclaims that add to these seven warriors’ merits include the following:
Hirano Nagayasu defeating Shibata Katsumasa (柴田勝政), the adopted son of Shibata Katsuie.
Katō Kiyomasa defeating Yamaji Masakuni (山路正国), a warrior who defected to the Shibata side and helped with the initial success the Shibata forces had during the battle. It was through a well-timed counterattack that helped not only turn the ties to the Toyotomi force’s favor, but allowed Kiyomasa to dispose of the traitor¹.
Kasuya Takeyori defeating Yadoya Shichiemon (宿屋七左衛門). This event happened while fellow spearman comrade Sakurai Iekazu was locked in battle with Shichiemon. As Iekazu was injured by a cut from his opponent’s yari, Takeyori joined the fray and ran Shichiemon through with his own yari².
LEARNING THROUGH ARTWORK
Just as written accounts are considered valuable resources, the same can be said for visual artworks. There are various paintings that depict the battle that took place at Shizugatake at different museums in Japan. The most well known one is a folding screen version from Ōsaka castle, which has been duplicated by other establishments. These artworks also feature the Shichihon Yari, all with unique interpretations as these warriors engage with the Shibata force with their trusty yari in hand.
Since these are visual artworks, they tend to have slight variations from the popular tale, but usually not without reason. For example, in the version from Ōsaka castle, the Shichihon Yari are located on the right side together, but the line up is different from what is usually recited. Wakisaka Yasuharu is replaced by another warrior named Ishikawa Heisuke. In another, these seven warriors are shown charging into battle together, but the difference here is Fukushima Masanori is located in another area, already defeated his target. In his place amongst the seven warriors is Sakurai Iekazu.
賤ヶ岳屏風
To the left, the multi-panel screen of the Battle of Shizugatake. To the right, a section from the aforementioned screen depicting the Shichihon Yari (on the right) lined up against their rivals from the original tale, as they clash yari vs yari. Of course, this is just an artistic interpretation.
Why is this? Apparently, it was more than just seven individuals who were praised for their efforts during the battle at Shizugatake. There were 2 more names mentioned, which were Sakurai Iekazu (桜井家一) and Ishikawa Heisuke (石河兵助). They too are considered ichiban yari, and are recognized for their efforts on the field too. On top of this, they were rewarded the same 3,000 koku as the 6 others. So, should the group not be called Kyūhon Yari (九本槍, the 9 Brave Spearmen)?
Speculations on this evolve around the untimely deaths of both Iekazu and Heisuke, with the latter actually dying during the battle, which had his son receive the reward in his place. As for Iekazu, he would die later, but the cause is unclear. In a different 5-volume version of the Taiheiki by Kawasumi Saburōemon, it states that Iekazu died from an illness in 1596. However, in a different account, he dies 3 years after the battle due to the injuries he sustained from his battle with Yadoya Shichiemon, and shortly after, from a revenge battle with the younger brother Yadoya Jirōsuke (宿屋次郎助), where they clashed with tachi (太刀, battlefield swords), then wrestled in kumiuchi (組討, armored warriors grappling) before Iekazu successfully took his life with his knife. Whatever the case is, there is no disagreement on the fact that Ishikawa Heisuke and Sakurai Iekazu fell from grace, and are not praised in the same light as the other seven spearmen.
OTHER SHICHIHON YARI
The term “Shichihon Yari” is believed to have been invented in later times, much after Sengoku period was over and these famed warriors had passed. Due to this, it became a coin term that other writers used to speak about exemplified spear-wielding warriors during various battles. Below are a few examples.
1) Ueda Shichihon Yari Early in the battle at Sekigahara in 1600, Tokugawa Hidetada led a force of his own alongside with his father, Ieyasu. Hidetada’s force would make their way to Ueda castle, which was occupied by Sanada Masayuki. This encounter is known as “Battle at Ueda” (上田合戦, Ueda no Gassen). During this battle, seven warriors from the Tokugawa’s sided are recognized for their valiant efforts. Their names are the following:
Saitō Nobuyoshi (斎藤信吉)
Ono Tadaaki (小野忠明)
Shizume Koreaki (鎮目惟明)
Nakayama Terumori (中山照守)
Asakura Nobumasa (朝倉宣正)
Toda Mitsumasa (戸田光正)
Tsuji Hisayoshi (辻久吉)
Highest merits go to Ono Tadaaki, but in a turn of events he was also punished soon afterwards due to a violation in military orders, which was considered a huge crime. While he would be pardoned at a later date, this incident does tarnish Tadaaki’s image abit.
Another surprising point about this battle is that Tokugawa Hidetada and his force lost the fight against Sanada Masayuki and his force. While noted as a defeat, it’s also important to point out that none of these warriors died during this battle.
2) Azukizaka Shihon Yari Possibly the first real account of skilled spearmen comes from one of Oda Nobunaga’s campaigns. In 1542, Nobunaga lead an army east towards Azukizaka in Nukatagun, Mikawa no Kuni. There, he would clash with the military force of the Imagawa/Matsudaira coalition. This event, the 1st of the ongoing conflict between these groups, is known as “Battle at Azukizaka” (小豆坂の戦い, Azukizaka no Tatakai).
During this battle is the first mention of what can be considered skilled spearmen that controlled the tides of a battle. Here’s the names of these acclaimed warriors:
Oda Nobufusa (織田信房)
Oda Nobumitsu (織田信房)
Sasa Masatsugu (佐々政次)
Sasa Magosuke (佐々孫介)
Okada Shigeyoshi (岡田重能)
Nakano Ichiyasu (中野一安)
Shimokata Sadakiyo (下方貞清)
From the Nobunaga clan’s written account called “Shinchō Kōki” (信長公記), it is said that these seven warriors were formidable in forcing the opposition to retreat, leading to victory. Unfortunately, there is not much detail about what actually took place and the feat these warriors performed on the battlefield. Note that while we know about this battle from this source, the Matsudaira clan’s well-documented “Mikawa Monogatari” makes no mention of this event. What’s even more interesting is that there was 2 battles that took place at Azukizaka, the 1st being 1542, and the 2nd in 1548. Both clans have detailed accounts on the 2nd battle, while the 1st is only mentioned in Shichō Kōki. There are a lot of speculations regarding this 1st battle, and whether it actually happened on the level it is claimed to have been.
ENDING
This here concludes our look at the yari through literature & artwork from Edo period. The tale of the Shichihon Yari offers a good look at how important and impactful this Japanese weapon was viewed during the Sengoku period, which influenced certain groups to continue to work with it even to modern times. Stay tuned for part 2, where we look at a few yari that were recorded as legendary treasures.
1) In another account, it is stated that a Hazumi Goemon (八月一日五左衛門), one of Toyotomi Hideyoshi’s retainer’s men, had taken Yamaji Masakuni’s head.
2) Depending on the source, who is said to have killed Yadoya Shichiemon varies. While Sakurai Iekazu was outbested by Shichiemon and would’ve died if it wasn’t that he was rescued, it is said that he landed the killing blow. However, Iekazu was only able to do so after Kasuya Takeyori ran his spear through Shichiemon’s chest, incapacitating him.
