In a previous set or articles, brave acts with the Japanese spear were covered, as well as a few famous ones that still exist today¹. These examples illustrate the importance this weapon had in Japanese history. The same can be said about the Japanese sword, with a great amount of stories especially coming forth during the Edo period; these are often painted as an essential tool part of the arsenal of warriors during the Sengoku period, as well as being the symbol of the samurai class during the Edo period. Many of the tales concerning swords even touch on levels one would deem supernatural.
For this article, we’ll look at 3 unique stories that tell about amazing feats done with the Japanese sword. Each story has an interesting point to illustrate, which ranges from the greatness of the wielder to the sword itself being nothing short of mystical. As amazing the feat is, keep in mind that they shouldn’t be taken literally.
STORY #1: YAGYŪ AND THE DIVIDED STONE
There is a legendary story that comes from the Ama-no-Iwatate Shrine (天石立神社, Ama-no-Iwatate Jinja) in Nara prefecture, which is home to a very large stone on its property. Measuring at about 26 feet long, 22 feet wide, and 6 feet & 1/2 high, this stone is fabled as the very one used by the Sun Goddess Amaterasu to seal herself in a cave. Today, it is a critical center piece behind the founding of Ama-no-Iwatate Shrine. However, the story we will be reviewing isn’t about the shrine’s origin, but concerns one of the more renown swordsmen during Edo period, whose name is Yagyū Muneyoshi (柳生宗厳).
A seasoned warrior on the battlefield during Japan’s warring years, Muneyoshi is the founder of Shinkage ryū (柳生新陰流) during the Edo period, a popular martial system that specialized in combat with the Japanese sword, which many still practice today. Well, it just so happens that the large stone of Ama-no-Iwatate Shrine also plays a significant role in how Muneyoshi founded his style.
There was a time Muneyoshi went on a training journey to further improve his sword skills. For this, he went to Ama-no-Iwatate Shrine and stayed there for awhile. One day, when he was training on the grounds of the shrine, a tengu (天狗, a long-nosed goblin with wings) suddenly appeared, as if challenging the warrior. Muneyoshi fought fiercely with the tengu, as they both went back and forth with blows. Channeling his intention, Muneyoshi swiftly delivered a downward finishing cut that the Tengu couldn’t stop, cleaving him in half. In the next moment, Muneyoshi’s opponent disappeared, and was replaced by the large stone that was originally sitting not too far from him while he was training. He was so intent on victory, that his blade was able to cut through stone.
The large stone would later be called “Ittōseki” (一刀石, stone divided by a single sword swing) once an account of Muneyoshi’s feat was learned. It’s perfectly split from top to bottom at an angle, which would take an enormous amount of brute strength to achieve. The point to take from this tale is that near impossible feats can be achieved through sheer intention, where one is harmoniously in tune entirely on 3 levels: physical, mental, and spiritual.
STORY #2: A BLESSED SWORD AND A WINE BARREL
This next story concerns the Mijima Shrine in Izu, located in Ooshima (eastern part of present-day Tokyo). Ittō Ittōsai (伊東一刀斎), the pioneer of the martial system known as “Ittō ryū” (一刀流), was residing there in his youth during a time when he wanted to learn kenjutsu. After a period of self-training through determination, the shrine’s head priest was moved, and decided to pass on a sword named Ichimonji (一文字) to the youth. This would be the 1st sword that Ittōsai would receive so he could begin to learn kenjutsu properly. Ichimonji was not only fabled to have a fine edge, it helped its young owner develop a skill that is quite a feat.
Before he became a renown swordsman, Ittōsai was described as a youth who had much potential in kenjutsu. The head priest acknowledged this as he convinced the youth to head on a journey to find a competent swordsmaster, which he agreed to fund. On the day he received Ichimonji, the sword was blessed ceremonial rice wine, and passed on to him without proper fittings². Late in the night, right before his trip, Ittōsai heard commotions in the shrine, and learned that it was being looted by a gang of thieves. Unsheathing the sword which only had a wooden handle, he charged at the thieves. Despite them being armed and outnumbering him, the thieves fell to his sword one-by-one, as he displayed great handling. The last thief retreated to a room where wooded barrels used to store blessed rice wine are kept, and hid in an empty one hoping to escape later unseen. Ittōsai gave chase and, upon entering the room, was able to perceive where the thief was hiding. In one swift motion, he rushed at the barrel and cleaved through the barrel, which not only collapsed in two, the thief inside also fell along with it, severed from his torso down.
This remarkable feat of cleaving both the wine barrel and the thief would years later serve as a secret technique taught to his highest student, which would be called “dō-giri” (胴斬り)³.
STORY #3: THE DEMON-SLAYING SWORD
This tale involves Hōjō Tokimasa, a figure hailing from the illustrious Hōjō clan. Originally a military commander serving in the army of Minamoto no Yoritomo, Tokimasa became the 1st authority figure of the established military-ruled Bakumatsu during the early Kamakura period.
After the establishment of Kamakura Bakufu, Tokimasa went through a period of being plagued by tormenting nightmares, which all involved the appearance of a demon. One night, he went to sleep in his chambers as normal, with his sword next to him. He proceeded to go through another round of nightmares, which made him agitated. As he turned on his bed, his right arm bumped into his sword, which then fell ontop of him. Suddenly, as if willed by a power not of his own, Tokimasa subconsciously drew this sword and swung it, instinctively cutting at the demon within his dreams. His sword instead cut off one of the legs from a table which a hibachi (火鉢, small heating pot) sits on. The exasperated Tokimasa woke up surprised at the scene around him. As he examined the damage done to the table, he noticed that the part of the table leg that was accidentally cut off had the carving of a demon on it. Suspecting that this was the cause of his nightmares, Tokimasa had this part discarded, and from then on, was able to have peaceful nights of pleasant sleep.
This sword of Tokimasa was actually named “Onimaru-kunitsuna” (鬼丸国綱). Known as one of 5 legendary swords in Japanese history, it is distinguished as being a “reitō” (霊刀), or “spirit sword”. This means the unique trait the the Onimaru-kunitsuna bear was the ability to cut things on a spiritual level. Since the small table was cursed by the carving of a demon, this sword was able to “will” its owner to severe the menace at its roots.
This concludes our coverage on stories concerning feats with Japanese swords. These tales were definitely penned to stir the imagination, illustrating famous figures and renown swords in a light of glory. While taking these types of stories as fact is abit difficult, one thing for certain is they are entertaining.
2) A sword prepared for use would have what is called koshirae (拵), which includes a proper sword handle covered with shark skin and cotton wrap, a sword guard, and adorned with metal pieces. Since the Ichimonji was place at the shrine for safe keeping, it was prepped in shirasaya (白鞘), which consisted of a simple wooden sword handle, and housed in a non-lacquered sheath.
3) There is an article that talks on the general use of this term, which can be read here.
There are countless examples of old military manuals and martial arts-related scrolls that have survived to present times. Containing important information regarding combative (and sometimes non-combative) topics, they are usually provided to those privy to the knowledge, or copied by said information with permission to do so. That being said, there can be multiple versions from one source, with each having either slight differences, to not resembling each other at all. There are reasons for this, many which can be deducted to when it was written, who wrote the document in question, who the person was that received it, to whom the audience was. One example of this is the many documents that are stated to come from Yamamoto Kansuke, the famed military strategist during the 16th century.
For today’s article, two types of manuscripts will be presented that fit this topic. Both stated to come from Yamamoto as a singular source, they’ll be examined in terms of content, as well compared to evaluate their similarities and differences.
SPECIFICS OF ORIGIN
Yamamoto Kansuke is an individual highly debated amongst researchers and scholars alike. This stems from topics such as validity of his existence to authenticity of various manuscripts that helped structured the Takeda force and associated groups. When looking at these manuscripts, many are signed by him, or reference him for his impeccable knowledge. Let’s look at two that I have in my immediate collection, which are “Heihō Hidensho” (兵法秘伝書) and “Gunpō Hyōhōki” (軍法兵法記), and look into their background info.
First up will be the Heihō Hidensho. This was one of select works that are said to come from Yamamoto Kansuke’s knowledge on combat. Going by the date of 1701 as when it was written, it would eventually be compiled together with many other documents into a collection in remembrance of the Takeda clan and their rule over Kai (present-day Yamanashi prefecture) during medieval Japan. This collection is called “Kai Sōsho” (甲斐叢書), and has been reproduced on numerous occasions as a large volume of historical reference books from the 1800s to the 1900s by individuals like Hirose Hirokazu (廣瀬廣一), and the group “Kai Sōsho Kankoukai” (甲斐叢書刊行会). The manuscript Heihō Hidensho is located in the 9th volume of the Kai Sōsho.
For this article, the book “Yamamoto Kansuke “Heihō Hidensho””, published by the company Keibunsha, will be the resource used. It not only shares the same name, contains the entire manuscript have been retained. While one can say its source material is dated, this reproduction can be seen as fairly modern, mainly because the original text has been slightly modified to make it easier to read & understand, while still retaining its old Japanese feel. The modifications primarily relate to updating older kanji not part of the standardized Japanese language. There are more unspecified updates/edits in this book version, which will be spoken upon later in this article.
The 2nd resource, “Gunpō Hyōhōki”, is claimed to have been written by Yamamoto upon the order by his lord & ruler of Kai, Takeda Shingen, for the sake of his army. This particular manuscript is dated 1546, and is signed to a Nagasaka Chōkansai¹ by the strategist himself, which can be determined by the signatures in the manuscript. This resource was drafted into 4 parts. One of these parts is called “Kenjutsu no Maki”, which is considered invaluable and possibly a glimpse at what the legendary Kyō ryū² may be based on.
In the book “Zusetsu – Kobudōshi”, there is a section dedicated to Yamamoto Kansuke that includes the Gunpō Hyōhōki to its entirety. This is reproduced in this book as-is in the form of photos from the original source. Note that the original source does exist in a book form, which can be accessed at certain libraries in Japan. Visually, it appears to be an authentic document, as it follows the format of similar documents produced in the 16th century. This includes type of speech, and using a cursive writing style, which proves to be a challenge to read. There are lots of text with the context focusing on kenjutsu
COMPARING THE LAYOUT
To get a clearer picture on the similarities and differences between these two documents, we will look at the contents on military combat, particularly from the Heihō Hidensho’s “Mokuroku” section, and Gunpō Hyōhōki’s “Kenjutsu no maki” section. These are much easier to analyze, even if we don’t look at the particulars in the techniques, as well as being accompanied with pictures. Here’s a partial look at their table of contents:
Heihō Hidensho: Mokuroku
Fighting forms (形勢, Keisei)
Method of hand-to-hand fighting(拳法, Kenpō)
Method of sword fighting (剣法, Kenpō)
Method of staff fighting (棍法, Konpō)
Long-range weapons – naginata, yari (長道具ー鎗、長刀, Nagadōgu – naginata, yari)
Method of archery (弓法, Kyūhō)
Firearms (鐵袍, Teppō)³
Gunpō Hyōhōki Kenjutsu no maki
Three points regarding kenjutsu (劔術三ツの要といふ事)
Postures with 3 height levels when wielding the sword (上中下段かまいの太刀)
Postures with the sword against unexpected encounters (りんきおうへんかまいの太刀
Forms for utilizing dual swords (両刀をつかふの形)
Forms regarding battles between swords and spears (鎗刀戦いかまいの形)
Diagrams of positions during battles between spears and archery (弓鎗戦かまいの圖)
At a glance, there are similarities between each book. For example, both put a great emphasis on sword fighting. Although it is not shown above, Heihō Hidensho’s section called “Kenpō” (Method of sword fighting) has its own table of content that, if listed, would require its own separate article, while everything else can be covered together in another article. In comparison to the Gunpō Hyōhōki, the contents on sword fighting is similar as it has many teachings that focus on using the sword against another fighter with a sword, while there are also lessons on using longer weapons against each other, and a small quip on archery. Interestingly, there is a focus on using a sword against different types of foes. Here are some pics for comparison, starting with those from the Heihō Hidensho on the top row, and Gunpō Hyōhōki on the bottom row:
From another angle, Heihō Hidensho has a dedicated section on hand-to-hand combat called “Kenpō” (拳法), which focuses on using restraining techniques such as grappling and strikes against an opponent while wearing one’s swords sheathed on the side, and whether the opponent attempts to draw their sword or not. For the Gunpō Hyōhōki, it appears that there is no conversation on this. However, it does have several sections that cover this topic, which are “Torite no koto” (捕手の事), and “Jūjutsu-ate no koto” (柔術当ての事). Unfortunately, both are not accompanied with pictures, but instead are coupled with long explanations on the topic. If anything, the Torite no koto section does mention about the possibility of iai techniques during torite, so this could be compared with Heihō Hidensho. For the most part, both manuscripts use this idea of hand-to-hand techniques as more supplemental to kenjutsu.
EMPHASIS ON KENJUTSU TECHNIQUES
As mentioned before, great importance is placed on kenjutsu in both documents. The direction both go with discussing the strategies while using the sword is through postures that signify an attitude or state of mind. The terms to indicate these in Japanese vary depending on the source. For instance, the word “kamae” is a common term for this. In the Heihō Hidensho the term “kensei” is another version, while “kurai” can be found in the Gunpō Hyōhōki. One thing to understand when interpreting these is that these postures, despite which label is used, are not static stances. Instead, they represent strategic points of movement in response to the situation against the enemy.
First, let’s review a list of select techniques in the form of kamae from Heihō Hidensho:
Hira jōgo kensei (平上後剣勢)
Migi jōgo kensei / Hassō (右上後剣勢)
Hira ue musubi mae kensei / Takanami (平上結前剣勢・高波)
Hidari ue musubi Mae kensei / Jōdan no Kasumi (左上結前剣勢・上段の霞)
Hidari ue mae kensei / Kissaki Oyobi (左上前剣勢・切先及び)
Hira ue mae kensei / Tōhō (平上前剣勢・当法)
Migi naka musubi Mae kensei / Chūdan no Kasumi (右中結前剣勢・中段の霞)
Hidari naka mae kensei / Yoko Seigan (左中前剣勢・横青眼)
Migi shita ushiro kensei / Sha (右下後剣勢・車)
Migi shita musubi mae kensei (右下結前剣勢)
Each of these kamae are listed on their own page, as there are thorough explanations and examples on how they can be utilized against an opponent. The name for each one is more descriptive in terms of how they are assumed, although some of them do have alternate, unique names that are expresses a concept of imagery, which are used in different martial arts schools. At their core, they are variations of kamae that most practitioners of kenjutsu, kendō, gekiken, and the like should be familiar with. For example, from left to right:
Hidari ue musubi mae kensei = Kasumi (jōdan)
Hidari naka mae kensei = Seigan (chūdan)
Hidari shita musubi ato kensei = Waki (gedan)⁴
For each kamae are explanations on how they can be utilized based on the enemy’s actions. The defender’s response isn’t as strict in terms of the counter attack, which makes things a little open-ended for interpretation. For example:
TRANS: The opponent takes the initiative and attempts to strike. Carefully watch when the opponent’s sword comes at you, then turn your body sideways with your left leg forward, pull your right leg back, and cut their right hand.
While this paints a rather clear picture in terms of movement using the attacker-defender model, it is also open-ended, for the type of the attack from the opponent is not specified, while the defender’s (us) initial position is not stated. This is pretty much how the techniques play out in this document, making it a supplemental source to any kenjutsu-focused martial arts school that can be studied upon.
Now, we turn our attention to Gunpō Hyōhōki, and look at some of the techniques mentioned:
Jōdan (2 types)
Chūdan (2 Types)
Gedan (2 types)
Denkō no kurai (電光の位)
Kasumi no kurai (霞の位)
Seigan no kurai (清眼の位)
Suigetsu no kurai (水月の位)
Nyūin no kurai (入引の位)
For this section, it starts off explaining the importance on 3 height levels while wielding the sword. They are the following:
Jō-chū-gedan kamae no Tachi
Jōdan (上段) = Upper stance
Chūdan (中段) Middle stance
Gedan (下段) = Lower stance
In almost all styles of kenjutsu and its modern equivalents, the idea of 3 height levels is a common principle. Illustrations show 2 ways of doing these, generally with one having the sword held in front, and the other with the sword held behind. This is abit different from what is shown in Heihō Hidensho, as there is not a great number of kamae where the sword is held behind. In the pictures provided, lengthy descriptions for these kamae and how to apply them is given based on one’s opponent’s actions. Each of the kamae are labeled according to their height level along with a unique name.
Let’s look at the following example below:
Jōdan – Denkō no kurai
This is the posture on the right. As a small explanation, in response to an enemy’s attack, the defender brings the sword above the head to the right, and strikes from overhead.
Take note that the picture sequences are not necessarily correlating with each other, especially in the later parts of the document. Each kamae, side-by-side, is significant in the Gunpō Hyōhōki; what’s important is the descriptions next to them. In a way, it’s a concise format to present lessons without using a step-by-step method.
The relation between the two documents is that Heihō Hidensho also follows the 3 height levels as specified in Gunpō Hyōhōki. Not only that, it follows the same order starting with high level postures, mid-level postures, then ending with low-level postures.
At first glance, when reading the particulars for these, it’s quite normal to think that both manuscripts are authentic & have been kept intact in terms of their original writing. This is certainly not the case for the Heihō Hidensho for a number of reasons which will be explained. As for the Gunpō Hyōhōki, this has a greater probability due to its appearance and contents, for much of the points on combat are done in a conversational manner that is not directly clear unless the reader has initiative knowledge in said topic, as opposed to very detailed, step-by-step descriptions that almost anyone can grasp. Take note that while this fits as what may be expected out of an older manuscript, just how much of it is 100% authentic as the lessons of Yamamoto, and isn’t a product of forgery, is hard to determine.
For the Heihō Hidensho, there are many points to pick up that indicate it’s not the original work. For starters, the original version, which would’ve been handwritten, is not available for view. Instead, we have a reproduction in print type of it in collection of other documents. It is mentioned to be reproduced several times, which most likely includes edits to suit the times, such as the kenjutsu kamae being compared to other unmentioned martial systems by presenting alternate names. Possibly the biggest clue is how the actual contents read; the way combat was approached was vastly different in Sengoku period in comparison to Edo period, and the way Heihō Hidensho reads coincide with the latter. For example, the hand-to-hand techniques demonstrated in it deals with situations in plain clothing and swords sheathed, which was a growing trend during martial artists during mid-to-late Edo period that were focusing more on jūjutsu and iaijutsu. Furthermore, the illustrations for the kenjutsu are not only similar to the style of specific artists during Edo period, but other pictures such as the ones used to illustrate staff techniques are not Japanese at all.
Finally, we look at the connection between both documents. Considering that they come from the same source, one can deduce that they were drafted around the same time period. Of course, this cannot hold up as an argument, since whereas Gunpō Hyōhōki looks to be a more authentic that was kept intact, we only see the typed version of Heihō Hidensho, which is a reproduction of said original source. This is even true when looking at the version in the Kai Sōsho. Despite presentation, if we compare the contents and acknowledge the similarities, (i.e. focus on kenjutsu, scenarios in which strategies for kenjutsu can be applied, etc.) what can be said about the differences? Let’s look at two points that can be considered.
Information may differ based on the person whom was receiving the manuscript – Depending on a person’s rank, or even affiliation, there are cases where one individual would get more clearer notes, while a person may get less. It can be argued that those were highly-ranked group leaders would’ve received a much more detailed documentation, as it would be necessary when training their team. However, for someone who may have been a specialist may receive a more concise version that skims the surface, which could’ve just been enough for that individual.
Manuscript may have been reproduced several times with edits – It is not uncommon that certain contents change and/or get updated by those who own it. This is true for both private documents, those passed on & used in martial arts schools, and those made for public viewing.
If we take Heihō Hidensho and consider it the same as the Gunpō Hyōhōki, then it’s possible it went through much edits and updates. This isn’t a bad thing, for if you think about it, combative knowledge should apply to the current times in order to stay viable⁵. With this in mind, it’s possible that the original lessons of Yamamoto Kansuke are maintained, but altered abit (or alot) so that it could still be applied in a society that still depended on the sword during Edo period.
It is great that there are documents written centuries ago that have been preserved for today’s generation. There are those that give credit to Yamamoto Kansuke, whether stated to have been penned by him or copied with permission. Unfortunately, researchers are faced with the task of validating the legitimacy of these, which tends to be difficult especially for those from Japan, as there’s a high chance they were produced during the peaceful times of Edo period by writers who try to pass them off as much older works. This brings our look at old manuscripts to a close. Hope everyone found this as an informative, and interesting, topic to read.
1) 長坂長閑斎. Historians believe him to be Nagasaka Torafusa (長坂 虎房), who was a retainer of Takeda clan of Kai.
2) 京流. This is one of 8 legendary sword systems that make up the collective group called Kyōhachi ryū. This was discussed in an article on this blog here.
3) This section may have been an add-on, after the development of firearms improved.
4) In this manuscript, there is no alternative name for this posture. However, I added the label here for this article due to it, from my personal experience, resembling the commonly used Waki no kamae, but done on the left side.
5) This same case was brought up for kyūjutsu (archery techniques) during Edo period, which was covered in an article on this blog here.
We continue with part 2 on our discussion about the fabled tale “Kōga Saburō Densetsu”. In part 1, we looked into the origin of the story and its possible connection to a real life figure, as well as a version of the story from the collection of the Kōga region-native Mochizuki family. This article will continue in the same vein, where we’ll review another version about Kōga Saburō and how he overcomes the trials of surviving in foreign lands, and managing to make it back home years later. The following version is introduced in the book “Kōga Ninja-kō”, which was mentioned in part 1. This is said to come from the source “Asahi Nihon Rekishijinbutsu Jiten” (朝日日本歴史人物事典).
This tale begins with an individual by the name of Suwa Saburō Yorikata (諏訪三郎諏方). Saburō is the territorial lord of Kōga, Ōmi province. He has a wife, who is known as Kasuga-hime. He also keeps in contact with his 2 older brothers, the oldest named Tarō, while the 2nd oldest is Jirō¹.
One day, Kasuaga-hime was captured and taken away by a tengu (天狗), which is a goblin with a long nose, body of a man, and wings on its back. Saburō, accompanied by his 2 brothers, went into pursuit in order to save her. During the chase, his brothers advised that they take a path that leads through Mount Tateshina (蓼科山, Tateshina yama), a familiar location not far from them. On the surface, it sounded like an easy path to traverse through in order to continue tracking the tengu. However, what Saburō didn’t realize is that this was just an excuse for the 2 older brothers to put a plan in motion they had for a long time; Tarō and Jirō had secretly been jealous of their younger brother’s good fortune, and had conspired to bring his downfall when the opportunity arrived.
As the 3 were walking by a moderately-sized pit, the 2 older brothers suddenly shoved down towards it. Saburō fell a distance down through the pit, and landed in an unfamiliar underground world. With no way up to the pit hole, he had no other choice but to travel through the area to learn his surroundings. Saburō crossed through different lands that were populated by villages. He entered various villages, and witnessed that the inhabitants lived their lives farming on their lands. Blending in where ever he could, he also engaged in farming for as long as needed, before moving on.
Eventually, Saburō’s wanderings through the underground world would bring him to a land called “Yuima” (維摩). In this land, he came upon a village where the locals specialized in deer hunting, and engaged in this on a daily basis as it was their way of life. He was able to make good relations with them, so much to the point that he was able to begin a relationship with the village chief’s daughter, Yuima-hime. Saburō was able to find happiness and piece of mind in Yuima, as he settled in the village doing hunting as much as he likes, and being with the lovely Yuima-hime, he spent many years there.
After some time, Saburō began to reminisce about his actual wife, Kasuga-hime. His feelings for her was getting stronger, to the point that he desired greatly to see her again. Setting his mind to find a way to get back to his homeland, Saburō executed a plan to run away from the village on a particular day, and set once again to search for a path that would get him back above ground. Giving up his life of comfort and heading back into the wild, he had to overcome many hardships. It took time, but Saburō was finally able to return back to the lands above through an opening on Mount Asama (浅間山, Asama yama). Descending down the mountain, he began his final journey back home.
Making his way back to his home country Kōga in Ōmi Province, Saburō saw a Buddhist temple along his path, and decided to stop by and offer prayers at its Shakyamuni Hall². Before entering the temple grounds, he felt something off about him. Feeling himself, he noticed scales all over his body, and realized his appearance has changed into that of a snake. Not wanting to alarm the locals, Saburō hid himself from plain sight. Wondering how to resolve this predicament, he remembered a remedy he had heard about, which involved bathing oneself in a lake where a particular plant called sekishō (石菖)³ grow. Keeping a low profile, he wandered around abit, looking for this plant. Eventually, Saburō came to a lake and, as expected, there was a good amount of sekishō sprouting from it. He stepped into the lake to test this remedy and, after washing his body, sure enough he felt his scaly skin soften up. In no time, he reverted back to his normal self as the his snake-like appearance was no more.
With no more obstacles, Saburō finally returned home. There, he reunited with his wife, Kasuga-hime, and was able to live the rest of his life happily.
BREAKING DOWN THE STORY
After reading both stories, it’s easy to see where both versions are similar, as well as where they differ.
We see Saburō as the protagonist who shares a relationship with Kasuga-hime. He is betrayed by an older sibling and knocked into a hole to sends him into an underground realm. There, he adapts, and is able to start a new life with another person named Yuima-hime. However, longing to go home and be with his first love, Saburō runs away, manages to escape this underground realm, and return back to his homeland. While he had an unfortunate transformation into a snake, he was able to change back, and successfully make his way back home and be reunited with Kasuga-hime. Of course, both stories have their differences in how this tale unfolds, which includes what event with Kasuga-hime that triggers the betrayal, which of his brothers actually commits the betrayal, to how Saburō was able to change back from a snake into a human. Despite these variations, the overall theme is still shared between both versions.
Below are specific points regarding the meaning embedded within the story, which will help understand the development of the protagonist, and how both Shinto practice, as societal structure of that time have an overall connection.
#1: PROTAGONIST AS A DEITY FOR WORSHIP
To understand how Kōga Saburō (and, albeit a minor role in these versions of the story, Kasuga-hime) is viewed is to first look at the source of his invention, which is the Suwa Grand Shrine in Nagano. At this shrine, there are 2 types of gods worshiped there, with the first being Takeminakata-no-kami (建御名方神), and the second being Yasakatome-no-kami (八坂刀売神). Constructed by Suwa Lake, the Suwa Grand Shrine is divided into two locations, with one being the “upper” shrine where Takeminakata-no-kami is worshiped, and the other being the “lower” shrine where Yasakatome-no-kami is worshiped.
Both deities come from the ancient texts Kojiki (古事記) and Sendai Kyūji Hongi (先代旧事本紀). From these texts and more recognized sources, Takeminakata-no-kami is presented as one of the sons of Ōkuninushi (大国主), the main god who heads all other local gods within ancient Japan and had ruling power what could be called the earthly realm. When the sun goddess Amaterasu (天照大神) sent 2 messengers from the heavenly realm down to claim control over the land from Ōkuninushi, Takeminakata-no-kami challenged one of the messengers in a contest of strength. One of the messengers, whose name was Takamikazuchi (建御雷神), agreed to the challenge, and had an interesting exchange with Takeminakata-no-kami, which would eventually lead to the young god’s defeat. Takeminakata-no-kami retreated to Suwa Lake, and as the two messengers were going to kill him, he begged them to spare his life, as he confided that the land be given to Amaterasu, and that he would stay forever at this lake.
Take note that in the records from Suwa Grand Shrine, this story has a slight variation to it, mainly where the fight and the scene of Takeminakata-no-kami’s retreat are omitted. As a whole, Takeminakata-no-kami’s bravery is honored dearly. Takeminakata-no-kami is worshiped as the god of wind, water, agriculture, warfare, and hunting, where hunting represents the lifestyle of certain families at that time.
Kōga Saburō is thought to not only be related to the story of Takeminakata-no-kami, but is said to have been the reincarnation of him. Thus, the young god is believed to have been reborn as one of the sons of the Suwa family, and was brave enough to take up the lifestyle of a warrior, become a renown warrior under the Ashikaga Shogunate, and rose to be lord of Kōga in Ōmi Province.
#2: THREE SACRED TREASURES
In the Mochizuki version, it is mentioned that Saburō was protected by 3 sacred items. This is a parallel of the 3 sacred treasures of Japan which are introduced in the Kojiki, the ancient text that presents the mythical story of Japan’s origin. The idea of a protagonist to have such items meant that he himself was special, and was protected by divine powers, as if destined to not lose. This idea most likely comes from the root story regarding Takeminakata-no-kami.
#3: SNAKE / DRAGON REFERENCE
The Suwa Grand Shrine’s god of worship is called “Suwa Myōjin” (諏訪明神). From the shrine’s documents, it is said the Suwa Myōjin would come down from the heavens to the lands below, riding on the back of a giant snake. It is also interpreted that Suwa Myōjin also took the appearance of a snake himself. In other writings, the creature is instead referred to as a dragon.
In Shintō belief, gods often used “shinshi” (神使), or divine creatures for both delivering messages or as a mode of transportation. These divine creatures look like earthly variants, such as the ox, chicken, crane, and carp fish. The snake is one of these divine creatures, so there are shrines that pay respect to these faithful messengers.
In another version of the Kōga Saburō Densetsu, the role of the snake / dragon plays a center role in the story, this time between Saburō and Kasuga-hime.
#4: SUDDEN CHANGE INTO A SNAKE
With the importance of the serpent and dragon to the Suwa Grand Shrine established, it’s easier to now look into the scene when Saburō changes into a snake. Here’s one way to interpret this scene. This is a direct reference to Saburō being Takaminakata-no-kami, and the transformation was a natural phenomenon. This came about because he fell into the underground tunnels that actually leads to a supernatural plain, where the lands there are populated by mystical creatures and people. When he left this supernatural plain and emerged back into his own homeland, he did so by transforming into a snake, much like that of Suwa Myōjin. Even though it may not have been through his own doing, this serves as a hint that deities are able to enter the human realm through the body of a divine creature.
#5: CONTRAST BETWEEN THE HOMELAND VS UNDERGROUND LANDS
Kōga Saburō’s homeland and his journey into the underground lands may be a reflection of the differences in classes in Japan, and how Suwa Myōjin is revered by both. In the story, we have both Saburō’s family who are warriors that engage in hunting, and in the underground lands there are those who are farmers. Saburō engaged in both willingly, which is a display of acceptance of both activities. In this respect, both military families and farmers saw it appropriate to pray to Suwa Myōjin for blessing.
From a different angle, the 2 worlds could also represent different cultures & beliefs. If we look at the name “Yuima, it’s a Buddhism term, and relates to certain sutras. The origin is India, where Yuima is the Japanese pronunciation of the name “Vimalakirti”. This name comes from an Indian folklore about an older man named Vimalakriti who was a layman, and had an uncanny understanding of Buddhism despite not being a monk. A bit to unpack, but India has been viewed as an integral place in the development of Buddhism in Asia, plus there has been many shared concepts between Shintō and Buddhism in Japan over the generations. There may be something to this in reference to Saburō’s journey in the underground world.
#6: LESSONS FOR THE KŌGA SHINOBI
This point is an interesting one, which is explained a bit in the book “Kōga Ninja-kō”. The focal point that ties the Legend of Kōga Saburō to the shinobi of Kōga is hunting. It is understood that there was a culture that involved heavily with working in the wild within certain areas like Kōga, and the pioneers of this were woodcutters and hunters. Through these types of occupations, one would gain experience traveling through wooded areas, understand the characteristics of wild animals which would include being able to copy their calls, disguising one’s appearance and smell by wearing animal hide, and so on. Such real life skills are believed to have been some of the building blocks to the shinobi no jutsu (or, as called in modern times, ninjutsu) techniques that the warriors of Kōga used generations later. The thought that hunting being a building block for Kōga warriors’ style of ninjutsu, as introduced in the book mentioned above, is an interesting concept, albeit one that is not stated as fact.
The legendary story of Kōga Saburō is an example of how fabled tales play a significant role in people’s lives in the past due to familiarity of content. How such tales are recorded and transmitted also plays a factor, with there being slightly variations in the story to fit a favorable agenda. This concludes our coverage on 2 versions of Kōga Saburō Densetsu. As I mentioned before, there still more variations to this story, which, if time permits, I hope to take a look at one that gives an even more different perspective on how the story unfolds.
1) In this version, the older brothers are not addressed by name. From other versions, as well as resources, it is understood that these are their names. Using it here is to introduce them as significant figures.
2) A section of a temple or shrine where the Buddha Shakyamuni is worshiped.
3) In English, this is called “Japanese sweet flag”. Its botanical name is “scorus gramineus”.
In today’s article, I will discuss about a famous story called “Kōga Saburō Densetsu” (甲賀三郎伝説), or “Legend of Kōga Saburō”. Gaining public recognition from the 1600s onwards during Edo period, there were many theatrical renditions done by kabuki actors, as well as musicals called “jōruri” (浄瑠璃), which incorporated a musician and puppets. Exposure to this story comes from the collection of esoteric-related writings by shrines, as well as from word of mouth by shugendō followers. While popular as a folklore, the Kōga Saburō Densetsu was especially significant to certain families from Koga region of Shiga prefecture, as it represents the root of their unique martial tradition.
In today’s article, we will look into the specifics of the Kōga Saburō Densetsu, which includes its origin story. We’ll also look at one version of this story, which comes from one particular family reigning from Kōga region.
TALE FROM THE SUWA FAMILY
Kōga Saburō is a heroic figure that is deified and worshiped at the Suwa Shrine located in Nagano prefecture, as well as viewed as a type of warrior god at various shrines. Considered a very old shrine in Japanese history, Suwa shrine itself was built by the Suwa family, whom also assumed the role as priests. The legend of Kōga Saburō dates back some time around the 1400’s, with the main character said to be modeled after one of the Suwa family’s sons who took up the occupation of a warrior, went to serve the Ashikaga shogunate by becoming a retainer of the Hōjō clan, and earned many merits due to his accomplishments in battle. For his service, he was also made territorial lord over Kōga. if this is the case, then it makes sense that this individual would be immortalized at their family shrine.
There is another version to this story, which is found within the documents of the Mochizuki family. One of the major allied families in Kōga during Sengoku period, The Mochizuki family have recorded in their family genealogy that they are descendants of a Mochizuki Saburō. Not only was this individual from the Suwa family, but is in fact claimed to be the same individual as Kōga Saburō, for he not only was the territorial lord of Koga, but at one time was a lord over the neighboring Iga region as well.
With the inception of this fabled tale, Kōga Saburō was immortalized as a hero of the Kōga region, as well as throughout Ōmi province (present-day Kōga, Shiga Prefecture). Other than the bigger-than-life trials the character had to go through, he is also revered as having establishing the way of life in that region. Another unique point is that for the Mochizuki family and their allies, the tale of Kōga Saburō is interpreted as teaching the roots of where the unconventional tactics and survival methods the warriors of Kōga specialized in, which today is often dubbed as ninjutsu.
For this article, we will first look at the Mochizuki family’s version of Kōga Saburō Densetsu. This version is taken from the book “Kōga Ninja-kō”, which is authored by Ukai Takehiro.
This story starts off at the beginning, when the protagonist was known by the title “Suwa Saburō Yorikata (諏訪三郎諏方), and was the 3rd son of the territorial lord of Kōga in Ōmi Province. Although youngest, his father made an unexpected move and appointed Saburō as the next successor of their family line due to his talents and likeable personality. On top of this, he had an arranged marriage with Kasuga-hime set up, who was the granddaughter of Kasuga Shrine’s chief priest. Along with his future wife’s unmatched beauty, the union between the two families would ensure that Saburō’s family continue to maintain their prestigious status. His older brothers, on the other hand, were not pleased with the special treatment their younger brother was receiving at all.
One day, Saburō went deer hunting in the woods with Jirō, the 2nd oldest brother. While his younger brother was distracted, Jirō suddenly pushed him down into a pit, where he would tumble into an underground cave. With no way to reach the opening of the pit from where he fell from, Saburō was forced to wander through the the tunnels of this underground cave. Trapped with no way out, he was sure to perish, but he maintained his wits and was resourceful with whatever was at hand as he traveled into unknown lands. For example, when there was no food to be found around him, Saburō ate pieces of his sōshi (雙紙)¹. During the night when there was no light peering above him, he used his sword Nikkō no tsurugi (日光剣) to illuminate his surroundings. Lastly, to keep safe from evil spirits and beings lurking about, he placed his keepsake mirror Omokage (面影) close by his side. These 3 items were actually blessed with divine powers, and protected the lone warrior during his journey².
Saburō’s wandering would come to an end when he finally stepped foot onto a kingdom called “Yuima” (維摩) . Although a foreigner, he was welcomed by the King of Yuima, and was also offered his daughter’s hand in marriage. Saburō agreed to this, and lived with them in Yuima for about 13 and a half years. While life was good, after some time he started to long for his fiance Kasuga-hime, and wished to be with her. So, bidding his family in Yuima Kingdom farewell, Saburō embarked once again through the underground in order to make his way back above ground.
Saburō finally discovered an exit from the underground realm, and was able to walk on his native land again. Hungry from his long trek, he decided to engage in his long-time past time and went deer hunting³. However, he soon discovered a terrible matter; for during his time in Yuima, he unknowingly went through a transformation and his appearance had become that of a snake. Not wanting to alarm everyone at his home, Saburō sought a method that would change him back to look like his normal self again. Luck was on his side, as he encountered a mysterious old monk who, seeing the young warrior in his plight, conjured a remedy. Miraculously, the remedy worked, as Saburō reverted back to his original form. What he didn’t know was that the old monk was actually a powerful deity in disguise, and had came to aid him in his return home. Just as he mysteriously appeared, the old monk went his way, without leaving a trace.
Successful in making it back home, Saburō presented himself to his family and explained what had happened to him since his disappearance. He also sought out his older brother Jirō, and drove him out of their home, forcing him to roam the land and never to return. Lastly, Saburō could be reunited with Kasuga-hima, he took his rightful place as the head of the Suwa family, and became territorial lord over Kōga. With everything taking course as intended, Saburō would assume the title “Kōga Saburō Kaneie” (甲賀三郎兼家), and could live the rest of his life happily.
This bring the 1st article about the Kōga Saburō Densetsu to a close. Reading fabled tales like the one above most certainly will bring up questions, especially about the hidden meanings behind certain parts of the protagonists overall journey. Fear not, for many of these will by answered in part 2, where we will go over another version of this story, and do an analysis of the symbolism that shapes this popular tale.
1) Normally this is written with the characters “草紙”. While its usage varied depending on the era, a sōshi is a type of bound notebook.
2) These 3 sacred items parallel the 3 sacred treasures of Japan, which are the following: Kusanagi no Tsurugi (草薙劍, The Grass-Cutting Sword), Yata no Kagami (八咫鏡,the 8-Span Mirror), and Yasakani no Magatama (八尺瓊勾玉, Long [approx. 8 ft] string of Curved Jewels).
3) Although not mentioned in this version, one of the differences found in the underground lands is that agriculture was the main source of food. Due to this, Saburō learned a great deal about farming during his time underground. On the opposite end of the spectrum, deer hunting was an important source of food when Saburō was living above ground. A comparison can be drawn from this when looking at class during Japan of old. This will be evaluated more in the 2nd article.
Over the years I’ve written several articles on a new year-related celebration called Kagami Biraki, which takes place on the 11th of January. Possibly the most iconic component of this is the kagami mochi (鏡餅), which is a rice cake made of a type of sticky rice that can be eaten. It is designed as 2-tier (either in one mold, or two separate pieces), and is often decorated in a beautiful manner. There is also a segment where a mallet is used to divide it by “breaking” the top surface, which means opening it to release the blessings kept inside by the toshigami (歳神), a deity that comes to visit one’s residence at the start of the new year to bring good fortune. Although this is a widely-known tradition, having kagami mochi isn’t practiced widely throughout Japan today due to modernization, although some families, or certain organizations for specific events, still keep this tradition going on.
As with most things in Japanese culture, there are plenty of symbolic meanings behind the kagami mochi and its appearance. For this article, the back story behind kagami mochi will be covered. We’ll look into the traditional practices regarding its shape, the superstitions behind the types of decorations used, as well as its relations to the mallet instead of a sharp instrument.
MEANING BEHIND SHAPE
The accepted practice for kagami mochi is to make it circular. This is obvious when this rice cake is looked at from above. There is one prime reason behind the circular shape, one that pays homage to ancient beliefs and practices.
Centuries ago, mirrors were made in a circle shape out of bronze. Going as far back as the Yayoi period (before 300 BC ~ 300 AD), these were valuable objects where only those of prestigious status could obtain one. From that time forward a strong belief regarding how mirrors can grant eternal life, or deliver good fortune to one’s descendants was attached to mirrors, giving it an auspicious nature. Also, shintō belief added to this with the idea that mirrors were like a gateway to different gods that were worshiped, such as the sun goddess Amenoho Akari no Miko (天火明命)¹.
Today, much of that ancient practice has been carried to present day, and influences the practice of Kagami Biraki. This gives us a clue as to the ancient bronze mirror being the reason for kagami mochi being circular, as well as a means to receive blessing from the toshigami for a long life.
One of the more interesting features of the Kagami mochi is that it’s made as a 2-tier rice cake. While it may seem unusual, especially for something that should be more recognizable as, say a mirror. However, this 2-tier structure is symbolic, with reasoning behind it. Below are a few acceptable theories regarding this:
Having the kagami mochi as 2-tier is believed to reinforce the blessing one receives, to ensure good fortune, and longevity for one’s life.
Having a 2-tier design is a representation of the phrase fūfu wagō (夫婦和合). This phrase stands for happy union between marriage couples, and can be viewed as following the philosophy of inyō (陰陽, ying yang). The layers of the kagami mochi represent this union, and is important for those who are married.
Under Shintō and Buddhism practices, the layers represent the connection between humans and the gods. Due to the influence of these two belief systems, Japan had a long history of being polytheistic, with many people revering gods for all purposes and matters in their lives.
Each of these theories are feasible and can honestly be identified as so based on the Japanese culture. It would be wrong to just pick only one, for there are many ways of life styles in Japan’s past, and it’s not common for different groups to celebrate the same theme, but with a different reasoning behind it.
The items used to adorn a kagami mochi is not random. Over several centuries a formalized practice was devised in how to visually present it. Below is an explanation of the items used as decoration, based on the image provided. Note that there are slight variations in the arrangement of the decoration, as well as items used, so this design is not written in stone as the only way to go.
Shide (垂) – A new year decoration consisting of 2 strands of square-shaped papers hung on either side of the kagami mochi. This is a type of gohei (御幣)² used in Shintō practices. Generally white can be used, or can be mixed with red color. This is symbolic as warding away evil spirits that can bring bad luck and misfortune.
Sanpō (三方) – A small stool to sit the kagami mochi on. Based on Shintō and Buddhist practices, this is a necessity. In the past, those of prestigious status could afford to obtain this. Present day, sanpō is an easily obtainable item at many outlets that can be purchased.
Daidai (橙) – Originally a fruit called daidai (橙, bitter orange) would be placed on top of the kagami mochi. Nowadays, a small mikan (蜜柑, mandarin orange) is used in its place, although the title “daidai” still remains. The meaning behind using this fruit is “seimei saisei” (生命再生), which is “restore one’s life”³. Another thought on this is how daidai do not fall off of the tree they grow on even after ripening. This signifies having a strong family line.
Urajiro – A type of leaf that comes from the fern species, called shida (歯朶) in Japanese. Two of these are used. This is not the only type of leaves that can be used for decoration of the kagami mochi, but this is the most common.
Shihōbeni – This is a square white sheet of paper with red trimming placed underneath the kagami mochi. The meaning behind this is protection from misfortune, sickness, and disaster from all four cardinal directions.
Since all these are part of Japan’s culture, acquiring these items is relatively simple. This is especially true when new years is around the corner, for many stores and retail outlets will have these in stock and put out advertisements.
TABOO OF SPLITTING WITH SHARPINSTRUMENTS
For those who’ve seen images or an actual Kagami Biraki event would notice that a mallet is used to split open the kagami mochi. This is the same for a taruzake (樽酒), which is a barrel full of blessed sake used in the same fashion as kagami mochi at certain gatherings and events, especially at shrines. Although I’ve spoken about this in another article, I’ll reiterate it here as well since it’s related.
Early in the practice of Kagami Biraki, there are recordings about it once being known by the title “Kagami Wari” (鏡割り), which can be interpreted as “splitting the mirror”. This is because a bladed instrument was used to open up the kagami mochi. As a practice devised by prestigious military families, this makes sense as a to-go action. However, over time this was frowned upon due to its rather violent connotation; for a practice that was auspicious, “cutting” something that is said to be inhabited by a deity felt like a direct attack. It also didn’t help that the practice of seppuku (切腹, suicidal cutting of one’s belly) was a form of ritual punishment that forfeited a person’s life.
A movement was made to change the interaction with the kagami mochi that appeared both humane and non-violent, which is where the mallet was introduced. For this, one taps the top layer in order to “open” it, which means to separate it into two. This is a more acceptable depiction to release to blessing one would receive from the kagami mochi. On another note, it is OK to simply use both hands to separate the kagami mochi.
This covers the significance of the kagami mochi during the new year, and the symbolism behind its presentation. As mentioned earlier, Kagami Biraki is not widely practiced nowadays throughout Japan, except by those families or groups that have reason to keep this tradition going. One thing for sure is there is still many images and public coverage on kagami mochi, much like this article, so it won’t easily be forgotten.
1) Hailing from Japan’s legendary tales. Known under many different titles, too numerous to mention. However, all point to the same goddess who shut herself in a cave after being the target of mean tricks by her brother, which brought darkness to the world. The other gods set into motion a plan to get her to come out, including having a mirror be the 1st thing she sees, to convince her that she was the most beautiful goddess of all.
This episode can be read in old texts such as the Kojiki (古事記) and Nihon Shoki (日本書紀).
2) Gohei is a stick consisting of streams of paper that is carried at the front of a procession or during a ceremony.
3) Daidai’s importance is based off of the tale concerning the deity Tajima Mori no Mikoto (田道間守命), and how he traveled to China to retrieve this bitter orange from China in order to make a medicine that would save the 11th emperor’s life.
It’s 2022! Let’s kick off in our usual fashion with an article on what the current Lunar Zodiac year is and what sign represents it. As many are aware, 2022 is the year of the tiger. Many have been sending out new year wishes accompanied with colorful images of tigers to help spread the word and support the Chinese Zodiac cycle. If we follow the actual chronological order of this ancient calendar, the correct date for this zodiac year is February 1st. Still, doesn’t mean we can’t get into the proper mindset and start 2022 right.
For this article, we’ll cover the specifics of the tiger sign, and what to expect the auspicious predictions for this year to be. Along with this, we’ll look at the societal and cultural influences the image of the tiger, as a whole, has had within the history of Japan.
Under the Zodiac calendar, 2022’s zodiac animal is the tiger. So, we can call this the year of the tiger, or toradoshi (寅年) in Japanese. In many people’s minds, the imagery of a tiger symbolizes power, courage, as well as strong-willed. Of course, these characteristics were added much later once animals were incorporated as relatable representatives of humanistic qualities for each of the 12 zodiac signs.
Let’s break down technical traits of this year’s zodiac sign. The tiger sign is identified by the character “寅”, which is pronounced as “tora”. Normally, the kanji for the actual animal is “虎”, which also uses the same pronunciation. Although possessing the same animal name, the “寅” character’s root meaning points to “sprouting of seeds”. This is significant as it’s the precursor to the seasonal transition from Winter to Spring.
Along with the 12 Zodiacs, there is the “10 Heavenly Stems” (十干/Jikkan in Japanese), which traditionally associates with each year’s reading. The character that represents this category is “壬”, with the pronunciation being “mizunoe”, and means “light-water”. This is because the 10 Heavenly Stems is a product of Inyō Gogyōsetsu (陰陽五行説), which is the combination of philosophical beliefs pertaining to ying-yang (light and dark) and the 5 Movements/Elements (earth, water, fire, wood, metal).
There are essentially 5 different tiger years within the 60-year Zodiac cycle, with each one representing a different element. For this year, we get both tiger and mizunoe together as “壬寅”, which is pronounced either as “jin-in” or “mizunoe tora”. Thus, the complete way of reading 2022 would be as “year of the water-tiger”.
The Zodiac signs have continued to have an impactful influence in Japan’s society of old. Becoming a staple within the culture, people were educated to rely on these signs for telling time, determining direction, and so on. Below are the different roles of the tiger sign in everyday application, along with its traits for this year.
Time = 3 am – 5 am
Direction = East-Northeast (abit past 30 degrees)
Month = 1st (old calendar); 2nd (modern calendar)
Energy = Light / positive (yang)
5 Elements = water
Although archaic for today’s standards, it is still possible to utilize the tiger sign, as well as the other zodiac signs, for calculating time, directions, and so forth. There is a systematic process, which is covered in one of my translation projects entitled, “Many Ways of Utilizing the Zodiac Signs“. This can be found in the Translations section of this site, in the menu above.
As mentioned earlier, the character used to represent the tiger sign possesses the meaning of a seed sprouting. This imagery represents growth & vitality, as well as new beginnings. In essence, 2022 is read as a year for everyone to not only become revitalized, but to start a new endeavor. Realistically, this tends to be a general goal for every year, especially in the West. What the tiger sign emphasizes is an increased success rate on an auspicious level, especially for life-changing, ground-breaking pursuits.
Those born particularly in the water-tiger year are said to have particular traits that makes it easier for them to succeed. This includes having a strong intention to succeed, passionate and able to take on any challenges, and an eagerness to learn. While designated as the personality of those born under this sign, keep in mind this can benefit all individuals universally, as those of different signs can mimic this in order to reap the rewards this year can offer.
Interestingly, as much as an advantage those born under this tiger sign has, there are also significant disadvantages they have to especially be cautious about regarding overdoing things. Then there are those other fortune factors to be concerned about, such as wearable color clothing, lucky numbers, favorable directions, and so on…at least, for those individuals who actually follow this type of auspicious practice.
Outside of the Chinese Zodiac calendar, the image of the tiger has cemented itself into Japan’s culture, despite being a country that originally was not a habitat for such animals. Gaining knowledge about this large, wild cat from sources such as artworks, literature, and folklore from China & Korea centuries ago, Japanese society has incorporated the concept of them representing strength, bravery, as well as something having high value. Thus, it’s not unusual for the tiger image to be used as a form of expression for one’s worth, or to distinguish objects with this animal association to instill an everlasting impression.
Let’s look into the historical use of the word tora (tiger) as a label. Since as far back as medieval Japan, it wasn’t unusual for individuals to include this word in their name or given title, especially for warriors or those in the entertainment field.
Takeda Shingen (武田信玄) = the renown warlord of Kai province was nicknamed “Tiger of Kai” (甲斐の虎, Kai no Tora), for he was a cunning & formidable competitor in the race to dominate Japan during the 1500s.
Akiyama Torashige (秋山虎繁) = a strong warrior & trusted retainer of the Takeda clan that controlled Kai province.
Hara Toramasa (原虎胤) = another warrior of the Takeda clan that was an ashigaru taishō (足軽大将, infantry commander).
Ii Naotora (井伊直虎) = a female territorial lord during the mid 1500s, as noted in the chronicles of the Ii family.
Utagawa Yoshitora (歌川義虎) = an accomplished ukiyo-e artist during the late Edo period to early Meiji period.
Nakamura Toranosuke (中村 虎之介) = a young kabuki performer/actor who hails down a family line that specialized in kabuki theater.
In a sense, the inclusion of tora (tiger) in each of these individual’s names or as a label can be taken as an indication of their capacity for success.
Next, is how value is placed on tangible things. For example, within the different areas of artistic practices and performances of old such as bujutsu (武術, martial arts) and chadō (茶道, way of the tea ceremony), documents that contain secret & high-level knowledge exclusive to those worthy were often called “tora no maki” (虎の巻), which literally can be translated as “tiger scroll”. This is still done today, as this label is placed on workbooks & study guides that contain important tips and strategies to help students pass exams, or excel in various fields of interest, such as medical or tech. There is also the term “tora no ko” (虎の子), which usually indicates things of extreme value, such as money. With the term meaning “tiger’s cub”, one can get the idea of how protective a mother tiger is when it comes down to ensuring safety for her own cubs. This is the type of feeling that must be projected for things that are of the status to be labeled “tora no ko”.
There are also some interesting old sayings that use the tiger image in an expressive fashion. Below are some examples, from dangerous situations to challenging the road to success:
Kogō (虎口) = the tiger’s den MEANING = a dangerous place to either avoid or escape from.
Koketsu ni irazunba koji wo ezu (虎穴に入らずんば虎子を得ず) = you can’t steal the cub if you don’t enter the tiger’s den MEANING = have to take risks if you want to succeed big.
Tora no o wo fumu (虎の尾を踏む) = stepping on the tiger’s tail MEANING = beware of stirring trouble, or getting caught in a bad predicament.
Tora ni tsubasa (虎に翼) = a tiger with wings MEANING = giving someone who is already powerful a level up boost.
Neko wa tora no kokoro wo shirazu(猫は虎の心を知らず) = Although similar, a cat doesn’t possess the mind of a tiger MEANING = an average Joe cannot understand the mind of a successful person.
While our world has faced an amount of setbacks caused by the pandemic, we are gearing to move forward with our lives in hopes to overcome. Let’s hope that this year everyone can make strides towards this, and be successful in our goals, whether it be in helping our communities, starting a new business, or just getting back on our feet. Don’t forget to use the image of the tiger to be inspired to do big!
Hope everything is off to a good start for all as the world transitions into a period where we can have a fresh start with new endeavors, as well as prepare to tackle our normal actives revitalized after some rest during the holiday festivities. I, too, have been working on my schedule for 2022, which I will to share in this post.
This being my 6th year running Light in the Clouds blog, things will continue in the same fashion, along with some additions. Sticking with the intentions for running this blog, topics will contiue to focus on certain Japanese-centric historical themes, from famous individuals to familiar events. Of course, more effort will be put into not-so-well-known pieces of information. Will also try to finish up some on-going projects (yes, you haven’t been forgotten Takigawa Kazumasu), as well as catch up on some topics that were mentioned briefly and have articles in the works. Much of this has to be balanced with real life, however, especially with the new line of work in the tech field I have recently switched to.
Still playing catch-up on various translation works that have been started, but not quite ready for public release. Mostly due to balancing my time with a better schedule. Some of these works include a break down on select military manuals and mythical tales. As for the few projects that are slated to be released as books, they are in still in the works, although slightly side railed due to facing spme real life changes caused by the Pandemic. This setback also includes endorsements I was intending to get during a planned trip to Japan since 2020. With certain things currently out of reach, I may consider releasing one or two of the books in a different fashion. Time will tell.
With everyone being vaccinated, as well as receiving their booster shots, everyone who participates in kobudō training at Chikushin group made great progress in 2021. Our curriculum focused on an older form of taijutsu (hand-tp-hand), as well as kenjutsu that covers principles more related battlefield tactics from Sengoku period. To continue with this momentum, we will stick with the same curriculum, while reviewing past training materials during our open sessions or monthly Theme weeks. Some schedule changes are about to be implemented, however, to supplement martial arts & Japanese studies in a more accessible fashion. The new schedule will be up on the official Chikushin group website once that is updated in the next upcoming days.
These are the goals set to happen this new year. Hope to accomplish this, and more, in good health. Hope the same for everyone with their own plans for 2022!
Every year I look forward to snow when Winter’s upon us. Since my childhood, NYC received a great amount of snow that blanketed the entire city. I have a lot of good memories, from having a white Christmas, shoveling snow with my father in front of our home, to trekking for hours around my neighborhood while bundled up with a heavy coat, gloves, and snow boots. Snow days are essential for kobudō training, as it offers another environment to challenge & evolve our skills. Lately, due to modernization through the advancement of technology, as well as climate change affecting all over the world, snow is becoming a rarity where I live, or the snow fall is so small that in a few hours it all melts away!
Recently I’ve been spending some time doing research on past lifestyle of people in Japan during wintertime. While there are all sorts of records pertaining to specific time periods, the most appealing are the visual ones, namely ukiyoe (浮世絵) and hanga (版画). For this article, I’m sharing some of the artworks I’ve come across that present iconic wintertime visuals, which should be appealing to those reminiscing about snow-filled days that was once common in NYC. It’s a mix between artworks showing different activities to famous locations during Japan’s snow-filled winter season.
TITLE: Yukikorogashi (雪転がし)
MEANING: Playing a game of yukikorogashi
ARTIST: Suzuki Harunobu
Suzuki Harunobu was active as an artist during the mid 1700s. In this artwork, he illustrates several boys playing yukikorogashi. Meaning “rolling the snow into a ball”, It’s a simple game where you take a handful of snow, place it ontop of snow on the ground, and proceed to roll it across. If done correctly, the snowball will gradually grow as it accumulates, soon becoming massive in size. A game played during Edo period, it has also survived into modern times.
TITLE: Yukikorogashi (雪ころがし)
MEANING: Playing a game of yukikorogashi
AUTHOR: Utagawa Sadashige
Another interpretation of kids playing yukikorogashi, by the renown artist Utagawa Sadashige. With a greater number of kids this time around, a larger yukidama (雪玉, snowball) is being created in the bottom left. In the upper right, some kids are making a yuki usagi (雪うさぎ, snow bunny) out of the snow. To the upper left, one kid is raining snow balls on unsuspecting targets. This artwork is a fine example of how kids spend their time enjoying the snow-related games during winter.
TITLE: Sensō Kinryūzan (浅草金龍山)
ARTIST: Utagawa Hiroshige
SERIES: Meisho Edo Hyakkei (名所江戸百景)
Here, we are presented a visual of the temple Kinryūzan Sensōji in Asakusa, Tokyo. Possibly being one of the more popular tourist spots around Tokyo, Asakusa is generally crowded as it has many attractions, including this location. Sensōji (the label “Kinryūzan” is its Buddhist tag) is treasured as being the oldest temple in Tokyo, as it dates back to 645. Along with visiting this temple, many come to take pictures at the front gate Kaminarimon (雷門), and shop at Nakamise Dōri (仲見世通り), which is a long path lined up with different types of shops along both sides.
Utagawa Hiroshige painted this artwork in the late 1850s as part of the collection of famous sights around Edo, now known as present-day Tokyo. The viewpoint is from under the gate Hōzōmon (宝蔵門), which is located in the more north-eastern part of the area. From this gate we can see the grounds, Kaminarimon & other structures, trees, and the people walking along the grounds covered in snow. There are some people making their way towards Kaminarimon to the left, while others appear to be heading towards Gojū no Tō (五重塔), or “Five-Storied Pagoda” to the right.
On a side note, I’ve personally visited Sensōji in the winter during my earlier trips to Japan, but it wasn’t covered in snow like in this artwork. Wish it was tho, as it would’ve been a cool experience in my book.
TITLE: Shiba Zōjōji (芝増上寺)
MEANING: Zōjōji of the Green Lawn
ARTIST: Kawase Hasui
Here we see another temple blanketed in snow. Not just any temple, Zōjōji has a deep history with the Tokugawa clan, as they had it relocated from further east to what is now known as present-day Tokyo city. Recognized for being within a large area having beautiful green lawns, through this artwork one can imagine there would be little traces of them considering how much snow is covering the ground.
Kawase Hasui captures a view of Zōjōji’s main gate Sangedatsumon (三解脱門) on a day of a snow storm in this piece made in 1925. He does a great job in showing contrast on the areas around the temple that would naturally be snowed on, as well as showing weight on the branches of the tree to the left as they accumulate snow. We also get an idea of how fierce the storm is by the angle in which the snow is falling, as well how the woman walking the grounds narrows her umbrella to protect herself from the frosty winds.
TITLE: Yuki no Miyajima (雪の宮島)
MEANING: Miyajima on a snowy day
ARTIST: Tsuchiya Koitsu
Japan is famous for the many torii (鳥居, Shintō shrine archways) around Japan. Many feature unique designs, while some are in the most unexpected locations. In this artwork we get a visual of the popular Ōtori (大鳥居), or Grand shrine archway of the national treasure shrine called Itsukushima Jinja (嚴島神社), located in Hiroshima prefecture. This archway sits out in the waters of the ocean, while most of the shrine itself is constructed along the edge of the ocean as well.
In this1936 artwork, Tsuchiya Koitsu conveys the natural phenomenon of the Ōtorii and other objects around it being covered in snowfall. There is light snowfall, but apparently it’s been snowing for awhile, considering the amount of snow that sits on the branches of a tree to the upper right.
TITLE: Biku ni hashi secchū (びくにはし雪中)
MEANING: Bridge unexpectedly covered in snow
ARTIST: Utagawa Hiroshige
SERIES: the Meisho Edo Hyakkei (名所江戸百景)
Another artwork from around 1858 by Utagawa Hiroshige, the theme of this centers around the bridge known as Kyōbashi (京橋). It’s built over Kyōbashikawa (京橋川), a river that runs through Hiroshima city in Hiroshima prefecture. The scenery covered in heavy snowfall, the artist uses the viewpoint from the snow-covered bridge, as we see a townsfolk with an umbrella about to make it across, followed by a messenger. We get a clear understanding of how deep the snow is by the messenger, who’s feet are completely submerged under the snow.
Take note of the 2 shops on either side of the artwork, which appear to still be open despite being blanketed in snow. The shop on the left with the sign “Yamakujira” (山くじら) sells boar meat, while the one to the right with the sign “〇Yaki Jūsan-ri” (〇やき十三里) sells roasted sweet potatoes with chestnuts. The aroma must be good, as it’s attracted a few dogs despite the weather condition.
TITLE: Chūshingura Youchi Ni – Rannyū (忠臣蔵 夜討ニ 乱入)
MEANING: Chūshingura’s “The Night Attack Scene 2” – Storming the Mansion
Lastly is an early-mid 1800s artwork of warriors dressed for battle on a wintry day. Utagawa Hiroshige has done all types of artworks on different themes, both realistic and fictional. This one is based on the fictionally-interpreted tale entitled Chūshingura (忠臣蔵), or “Treasury of Loyal Retainers”, which is set around the early 1700s according the factual accounts its based off of. In the West this is primarily known as “47 Rōnin”. This tale is popular all over the world, with many artistic adaptations over different generations.
This artwork captures the scene where these masterless warriors prepare to storm into their destination, being the home of a Kira Yoshihisa, who was responsible for their former master’s death. From a combative perspective, it is interesting to see the attire they wear as they travel along the snowy grounds. Dressed in what was standard for 1700s, one can imagine that the material was durable for the cold, and that they were dressed with a certain number of layers. Yet, they do not looked weighed down by bulky & heavy clothing, meaning they were still nimble enough to handle any opposition they would encounter along the way as they were set to extract revenge on Kira Yoshihisa himself.
This concludes our viewing of wintertime-themed artworks made by different artists during Japan’s Edo period. Looking at renown works as these are a great way to see, as well as compare, certain locations present-day to their past appearances. Shame that these won’t satisfy my hunger for a snow-filled winter. Well, here’s looking towards some real snowfall in the later part of winter in the New Year!
At least once a week our group engages in dōjō jiai (道場試合), which can be viewed as a form of competitive training. While this has the nuance of being a competition among practitioners in-house, this really isn’t the case for us, as this is more of an umbrella term for a collection of active training methods designed as a means to drive our skills, and see how our martial systems work. As a whole, competitive training assists in flourishing our skill, as well as show which areas need improvements. All these points lead to one critical principle that’s necessary to being a exemplary martial artist: the ability to adapt.
For those that train in sports-oriented systems such as boxing, mixed martial arts, kendō, and the like, and either fight competitively or just focus on the possibility of self defense, competitive training is a useful tool. In kobudō, there are schools that also utilize competitive training. Generally, it is not the main focus of transmission of a martial system, for instead focus is put on kata geiko (形稽古, practice of preset forms) as the main tool for teaching. In kata geiko, we learn to develop structure, and understand key principles of our specific style, or techniques and how they would work under specified conditions. The more we can execute these forms with the correct energy and movements, the better we can present the core essence of our martial system. This is a fine example of “art”.
On the other hand, at some point students need to be tested in some fashion to not only see their level of proficiency, but for themselves to actually use what they are learning in a “live” environment. Many forms of competitive training assist with this, such as sparring, randori, kumite, kumitachi, and so on. While there are different degrees of control that can be placed on this type of training (ranging from rules restricted areas of attack, limitation of specific techniques that can be used, to being completely free form), they all serve the purpose of conditioning us to adapt, which makes it possible to deal with stress and develop insight on how to stay in control in order to win or survive.
Perfectly executed techniques are a testament to one’s ability, but considering an actively resisting opponent won’t just allow it, we must also understand there are moments where we need to adjust our techniques, or reinforce them with other skills, in order for them to work. Just because a technique is done in a particular way during kata geiko doesn’t mean it is valid in all situations. Preset forms can be viewed as “snapshots”, and give validity to the usefulness of the technique itself. However, forms can also be viewed as “not alive”, since in an actual conflict people do not move or respond in only one preset manner. Conflict of all types represent the notion of “war”, and we generally cannot approached them in a scripted manner.
To teach students the concept of adaptation is not only done in competitive training, but more preferably during regular kata geiko itself. Let’s look at a component normally tied with this, which is technique. Fundamentally, we first learn how to do techniques in a set manner to understand its mechanics under set conditions. When those conditions differ due to an attack being at a different height, range, or even scenario, can these techniques still be applied? Realistically yes, for we have to naturally adjust the techniques where they can be applied, enabling them to adapt and be effective according to the vision of one’s martial system. This is only true if techniques themselves retain their core principles. Before this can be achieved during competitive training, bunkai (分解, breaking down the components for analyzing) needs to be incorporated into kata geiko at some point, especially when students show a level of understanding and have grasped the basic movements.
Another aspect of adaptive training is giving students the chance of failure, which is necessary for them to understand this feeling, and how to proceed forward. The idea of “losing” to another can be tough, especially when we hold onto thoughts about being a great & unstoppable martial artist. Yet this is fine, as this can be a demon of sorts that needs to be overcome. Once this is achieved, a person’s perception regarding conflict will change from being a personal endeavor to one that is in tune with everyone and everything around us. Failure can make or break a student, which becomes their own personal challenge when growing as a martial artist, as they’ll need discover that capacity to adapt, and mover forward in order to look at the big picture. Another good point about failure is that it can help to crush ego, which is a big obstacle just about all of us encounter, and need to deal with at some point.
A Japanese saying I learned many years ago that has a strong connection to the idea of adaptation is “banpen fugyō” (万変不驚). Literally, this reads as “10,000 changes, no surprise”. In martial arts, this can be interpreted as how chaotic things can become during a fight, for one’s opponent(s) may attack freely with whatever knowledge or tools they have at hand. Yet, with proper conditioning and a solid foundation, one can stay calm and handle things accordingly through adaptation, no matter what comes at you.
As the year comes to a close, people send different forms of heartfelt messages around the world. This is done for all types of purposes, whether it be reaching out & staying in touch between family and friends, or keeping good relations between businesses and customers. In the US, many usually do this in the form of holiday cards, such as Christmas cards or New Years cards. Similarly, Japan has a practice of using cards as well, which is called nengajō (年賀状). What is the story behind nengajō? In this article, we’ll explore the history behind these letters of happy new year wishes & when they came about in Japan, along with the iconic appearance that has become a mainstay. We’ll also touch upon the rules & hardships that come along with following this tradition, as well as how technology is changing people approach sending out new year wishes.
MEANING AND HISTORY
The word “nengajō” stands for a written letter used to wish good fortune in the new year. In today’s standards, this is labeled simply as a holiday card. Such practice in Japan was recorded around the later part of Heian period (794 ~1185). Evidence of this is found within the collection of letters called “Unshū Shōsoku” (雲集消息), which were of the possession of Heian aristocrat and Confucius scholar Fujiwara Akihira. In this collection, there are exchanges of messages of New Year wishes between him and others. Considering the time period and how aristocrat families primarily had access to literacy education, it is believed that the practice of nengajō started with this group. Other examples of expressing new year wishes can be also found in educational resources called “Teikin Ōrai” (庭訓往来), which were used at private temple schools starting sometime in the 1300s during the Muromachi period. In the past, the most common phrases found in these letters included expressions of fortune or wishing happiness to the recipient as Spring was opening up throughout Japan. Along with the elite families, military families would also follow this tradition, as many warlords saw it important to uphold good relations with their allies.
In the Edo period, this practice was slowly being adopted by the common people. This is due to literacy education being made available through private elementary schools, which helped society as a whole develop with each generation. Still, the catch was that family had to be making a well enough income to afford education lessons. Education as a whole made it possible for many towns & prefectures to incorporate cultural traditions primarily elite families partook in the past. As nengajō became a growing practice among the masses, one form of transportation that became essential was the mobility of machibikyaku (町飛脚), or express messengers in English. This special service was introduced as a simple solution to meet the demands of Japanese citizens having their holiday cards reach their families, friends, and acquaintances on the exact day of gantan (元旦), or 1st day of the new year. Machibikyaku were depended on for this task up until the ending of the Edo period, as this service would be replaced by a more systematic process known as the postal system.
The postal system was introduced in Japan around 1871, with post offices slowly constructed in each prefecture throughout the country. The postal service would become fully established around Japan within the years, which from there a formal delivery service could be provided throughout the country. Citizens took advantage of this, for in late 1880s onward post offices had to handle the bulk of these holiday cards from everyone throughout Japan in the last month of the year, as postal workers had to work around the clock to ensure each and every nengajō made it to their destinations on the 1st day of the new year. This approach was adopted from how the machibikyaku were used for express deliveries in short periods of time.
DESIGNS AND FEATURES
Over the course of history, nengajō went through several visual and physical transitions. More ancient examples can be seen from resources like Unshū Shōsoku and Teikin Ōrai, where In the beginning this letters were sent that contained new year wishes in the form of one to two line greetings. Once Japan was unified by one sole power called the Tokugawa Shogunate and giving birth to Edo period in the early 1600s, nengajō retained its letter form as common people emulated what was done in the past. In some of these, illustrations were added along with the message depending on the sender’s taste. These new year letters were folded into a smaller, compact size, which made easy to carry by those who could travel, or be piled with other letters in a square box and easily distributed by machibikyaku once they reached their destination.
As Edo period came to an end, with Meiji period taking its place in late mid 1800s, advancement in modernization would influence how people would send out nengajō. With an actual postal system in play, actual holiday cards called nenga hagaki would be made available for purchase. This version was especially well received during the early to mid 20th century, as people could go to their local post office, book stores,or specialty shops and purchase these pre-made cards. This period saw a very iconic look for these holiday cards, where on one side would be for the address of the sender & recipient and the stamp, while the other side would feature some form of illustration followed by space for one’s message.
Speaking of which, with the inclusion of the card design came other features that gave sending nengajo more appeal. The 1st one being otoshidama-zuki nenga hagaki (お年玉付き年賀はがき), which are holiday cards equipped with lottery numbers. These lottery numbers are issued by the postal system and give the recipient a chance to win small prizes. Take note that these cards are only purchasable from post offices, as this is one of the ways the postal service makes money. There are 2 periods in which these lottery holiday cards can be purchased, with the earliest being July, and the latest during August. These lottery cards are different from regular cards used as nengajō, which are generally made available from November 1st. Surprisingly, these lottery holiday cards became the “expected” way of sending new year wishes at one point.
The other appealing feature would be the nenga kitte (年賀切手), or new year stamps. These specialized stamps were introduced to the public in late 1935, and were designed to be placed on nengajō. Over the years, these stamps featured unique art themes to make them more eye-catching, such as having a national landmark, a symbol attached to a specific prefecture or island in Japan, a person in an attractive outfit, and to the ever familiar Zodiac animals. New year stamps are still in play today, both physical and digital stamps (more on this later).
RULES & HARDSHIPS
Nengajō has a pivotal place in Japanese society. In modern times, people took sending these holiday cards out seriously, especially for maintaining good business relations. Since their purpose is to wish the recipient a fortunate new year, they need to be prepared & sent out at on time. There are actual protocols that need to be followed when sending these out.
The period for sending out nengajō is from the last week of November to around 2nd~3rd week of December
Cut off time for the post office to receive nengajō is December 25th
While any type of holiday card can be used, official ones issued by the post office were the expected type
Nengajō had to be bought at a particular time, especially otoshidama-zuki nenga hagaki
While this is a seasonal practice, just keeping in mind when to prepare for this isn’t too much of a hassle, especially when sending out personal holiday cards for family and friends. On the other hand, businesses are hard pressed with getting all of their holiday cards out at a timely fashion. Companies are expected to take seriously the custom of sending out new year wishes to everyone they communicate throughout the years, whether it be customers, associates, and vendors. This includes individual workers who are the position of working directly in business transactions.
Speaking of which, there was a point where sending nengajō was a serious endeavor that equipment was needed to assist with the volume of holiday cards that was required to be to sent out. From the late 1970s to early 2000s there was a handy device called “Print Gocco” (プリントごっこ), which allowed anyone to custom design their cards with the typical designs found on nengajō. It was small & simple to use, and would allow anyone to fully design a typical holiday card in a short amount of time (specially-supplied cards from the post office generally were used). Of course, what a Print Gokko could not do was duplicate a hand written message, which a person had to do themselves. In terms of experience with a Print Gokko, my Japanese father-in-law invested in this during his years of full-time employment at a company. It wasn’t for personal use though, but instead needed to prepare nengajō for customers and business partners he interacted with over the years. Every year he had to prepare around 200 of these holiday cards at home using the Print Gocco, and making time to write personal messages based on recipient. My wife explained that was a daunting task on him, and how others in Japan had the same routine as him. This is an example of how important keeping good relations through nengajō was viewed upon throughout the years.
Another example of the importance nengajō presented was impacted on the Japanese postal system. Pressure was placed on post offices around Japan for many years, especially during the late 21st century, when the economy was at its highest point and many high-profile businesses doing well worldwide. During this period, the volume of mail that included nengajō was unmanageable during regular postal schedule. This instilled a critical end-of-the-year overtime during the last week of December, where Post Offices had to hire part-time workers, usually students, to handle the task of delivering nengajō on January 1st. This is reminiscent of how machibikyaku worked during the Edo period. As of recent, this end-of-the-year overtime was lifted off the post office, due the lesser volume of physical holiday cards they see nowadays.
DECLINE DUE TO MODERN ADVANCEMENT
Nengajō has cemented its place in Japanese culture. However, how people continue this tradition of new year wishes is changing. Advancement in technology has given the world options for ease of accessibility for many areas of interest with the introduction of computers and smart devices. People can enjoy nengajō through these methods, but in return interest in sending out physical mail has dwindled considerably.
Let’s take a look at how technology has given people options with nengajō. From the late 20th century to early 21st century, print shops, as well as online services that can be accessed on one’s personal computer, offer options to customizing and designing unique holiday cards. Through such service, customers do such things like choose font type, adjust layout, to adding their favorite pictures, including of family members. The popularity in this was due to the departure from the more traditional look of nengajō since the start of the Meiji period, to a modern standard that fit everyone’s personal taste and style.
Technology of smartphones in the early 21st century would further give people greater ease of sending holiday wishes through digital nengajō using SMS, such as Line app. Along with one’s personal message and decorated picture, users can add cool looking new years stamps. Digital nengajō is a very cost-efficient way of staying in touch and is extremely popular way among different age groups in Japan. Of course, with this ease in communicating with both family and friends through tech, the more traditional method of “snail mail” using paper cards and physical stamps is not relied on as it once used to be decades ago.
This concludes our look at nengajō and its impactful history in Japanese culture. As a well-documented practice, there are some really nice designs that can be viewed online of cards & stamps used within the last century. Even though there’s a departure from physical nengajō, sending them digitally is also cool, as it still retains the spirit of wishing a happy new year to loved ones & friends. As a whole, one can have fun making a comparison of this holiday card practice in Japan with one’s own country’s standards.