Author: Curtis A

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Shirahebi, the White Snake Messenger of Benten

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

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

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

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

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

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

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

やけに静かな、そして月のきれいな夜のこと。

上野の不忍（しのばず）の池のわきで、車屋さんがいっぷくしていました。

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

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

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

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

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

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

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

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

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

「だいたい、いくらいくらのけんとうでいかれるよ」

と答えました。

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

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

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

「ずいぶんと軽いな。若いむすめっ子だから、こんなもんか。」

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

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

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

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

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

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

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

ENDING

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

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

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

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

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

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

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

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

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

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Motif of Sakura

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

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

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

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

THE BEAUTIFUL SAKUYA

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

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

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

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

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

FAMILY CRESTS

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

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

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

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

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

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

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

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

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

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

CONCLUSION

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

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

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

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

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

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

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Looking at Chūjō ryū Techniques

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

Example of 2 Pages from the Chūjō ryū manual.

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

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

DESCRIPTIONS

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

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

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

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

DESCRIPTIONS

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

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

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

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

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

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Using Extreme Conditioning during Sports

A topic I bring to the table today is the idea of extreme conditions while engaging in physical activities. This can be a range of methods, such as training in unpleasant environments, bearing an unusual amount of load, to lack of fluid consumption for long periods of time. For athletes this is the norm in order to perform at their highest for their country. However, what about those who are not invested in such occupation, but just want to have fun in the activity of choice?

Extreme conditions during sports are an issue in Japan. Kids of all ages face some form of this when they participate in a sports club at school, which can range from long practices under the blazing sun with no cover, to denial of water by their coach. Whether it be tennis, baseball, soccer, judō, or kendō, the idea is for the kids to learn how to develop spirit of endurance, and go the extra mile no matter how taxing the situation is, which can prove critical when seizing victory against other prefectural schools during competition. However, there have been many cases where kids have collapsed due to heat stroke or exhaustion, some of which had led to deaths. My wife explained to me her experience when she was part of the softball team at her school in Japan, where not only was she and her teammates denied wearing a cap to block the sun rays, but weren’t allowed to drink water until practice was done even though they were dehydrated. It was not a pleasant experience for her.  Over the years, efforts by sporting committees in Japan are bringing awareness of how to avoid endangering kids that participate in sports clubs. Still, this is questionable, for the harsh conditions still exist, and the cases of heat stroke during practices still occur, albeit few.

Essentials for beating the heat
Simple items like a bottle of water and portable fan are essential for recovery during grueling training sessions. From Photo-AC.

From my standpoint, extreme conditions have their purpose, especially for those who are invested in it to excel at their chosen activity, and are monitored by staff or companions, (i.e. a manager, a medical team, etc.) ensuring they progress safely. This can be done in moderation, so that the individual can grow. Kids shouldn’t be forced to endure such harsh conditions to the point it leaves long-lasting injuries. A lot of responsibility has to be taken when putting people through training with extreme conditions. For me, in my pursuit to study martial arts, I took the plunge and engaged in this as much as I could.

During my teenage years, my mentality towards budō was old-fashioned, thinking that a person on this path trains to be as fit as a warrior. Through research, I adapted a rigorous training regiment, along with other forms of conditioning outside of training. One in particular included not drinking water during 2+ hrs of training. I spent many years doing this with no issues, which further cemented the idea of such extreme training as fine. During my college years, I met others with the same ideologies as me, whom would become my training brothers, and would engage in long training sessions together, pushing ourselves to be the best. As an example, there were times when we would meet early in the morning on a weekend and travel to a park in a different borough while I was still living in NYC. There, we would have a long training session, which included running on a path hidden in foliage and scaling the side of a rocky surface to strengthen our fingers. This normally lasted over 2 hours. Having no drinks with us, we would have to make our way to the local store which, depending on how deep we were in the park, could take as long as 20 minutes to get there.

One day, when I was having a particular conversation related to martial arts with one of my training brothers, we hit on a topic about our experience with interacting with others who weren’t part of our group. Seeing that my views were abit one-sided, he responded to one of my statements in a manner like, “people have their own reasons to studying, and you shouldn’t always expect others to want to train for the same purpose as you.” At the time, I acknowledged the remark, but still held on to my own views as law.

A little later, after joining a dojo and training with many practitioners from all walks of life, I learned there was more to life than just training to be a “warrior”; interacting with others with varying views and values from mine, along with different purposes in their pursuit to studying martial arts helped to make me more open-minded. Not everyone is training for duels to the death, carry on the tradition of a specific style until they die with unwavering dedication, or even conditioning themselves to surpass limits as if going to war…which is fine. Quite frankly, we live in a time where such devotion is not a necessity to survive; on the contrary, it is more of a personal endeavor, one that I have embraced, but need not expect those around me to do the same.

Coming to this understanding was a good thing overall, as it made me more responsible when taking others under my wing. When I started my training group years later, I created an environment where students can immerse themselves in the martial arts, but also being mindful of everyone’s capacity. For example, after a period of rigorous practice, I would add breaktime where students can take 5 mins to catch their breath, ask questions, take a water break, and so on. If practice was indoors, I ensured that we had plenty of ventilation and, if the room got excessively hot, would turn on whatever cooling system we had on hand. Also, if during practice someone needed water to stay parched, I didn’t hesitate to allow them to step away and get a drink. In a dual fashion, the option to tough it out was there, but wasn’t forced onto students. My hopes were that each would develop endurance overtime, and slowly go pass their limitations. I encouraged this through various training methods, but was still mindful not to force this ideology outright in the group as a must-do.

In closing this topic, there’s a time when we should push ourselves during physical activities. Some people relish in this, while others are grateful when their coach or team pushes them hard to excel. Subjecting people of any age to extreme conditions without any regard to their health and safety, especially when signs of deterioration is evident, is wrong. Gradual strengthening over time can produce favorable results. While I see value in training to get better through specific forms of extreme conditioning, I believe they should be used with responsibility.

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Translations section updated…finally!

It’s been a while since I’ve made any announcements regarding the Translations page. There are still a few projects planned that will be released there, which I’m slowly getting back to. The latest entry is “Itō Ittōsai’s story: Obtaining the Secrets of Swordsmanship“. A tale of one of Japan’s prominent powerhouses regarding sword expertise, Ittōsai is highly respected and recognized as the founder of Ittō ryū.

The full scope of this project included retyping the Japanese manually according to the main source in Word, then producing alongside it English transliteration. Although not a difficult translation, this project is overdue, for in actuality this should’ve been released a few years back. Due to some unforeseen PC issues, this got delayed and put on the back burner for some time.

The current translation projects on my plate are listed on the Translations page. While there are more that are not listed, how they will be presented publicly will depend on some future plans, which includes the current development of my new website. For the time being, please enjoy this new entry!

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Kyōgawa-sama: the Snake Deity in the Pond

It’s time to revisit the Zodiac theme of this year. We’ll do it again with a snake-related folklore. In Japan, there aren’t many popular folktales that paint snakes in a good light. However, there are plenty of short and obscure ones, along with those that focus on the primal nature of this creature. Fortunately, I managed to find a suitable one, a local tale from Yabasama in Kani City, Gifu Prefecture. Long ago, this place used to be known as “Yabasama village”.

A snake swimming in a body of water, much like how Kyōgawa-sama was said to be the owner of a pond in the area known as Yabasama village. From Photo AC.

The name of this folklore is generally known as “Kyōgawa-sama”, which is about a snake deity that has a proper shrine, as well as a pond nearby. Below is the original Japanese from the official Kani City webpage. Alongside it is my English transliteration.

ずっとむかしの話や。
谷週間の山の中なかに「京河さま」とみなが呼よんどった小さな石の神社があった。その横の谷に、京河さまの池があってなあ。

その池は、みかけは小さいがほんとはふかいという話やった。

木の葉で埋まってまったようにみえとったが、むかしからいっべんも水がのうなったことはなかった、というこつちゃ。		This is a tale from long time ago.
Within the mountains of an area known as Yabasama stands a small stone shrine where the deity called “Kyōgawa-sama” resides¹. In the neighboring valley is Kyōgawa-sama’s pond.

Based on rumors about it, the pond appears to be small, but is very deep.

It’s also said it never lost even a drop of water, although now in its current condition it’s covered up by leaves.
ある夏のこと。くる日もくる日も、雨が降らず、田んぼはひびわれするは、飲み水も足らんようになるしで、みなはとほうにくれてまった。

そこで寄り合っては話し合うたが、ちよっともええ考えがないもんやで、とうとう「こまったときの神だのみや。それよりしょうがないのう。」ということになつた。		During one summer, there was a village where the farmlands and rice fields were whithering, and drinking water had become scarce, due to a lack of rainfall. The villagers were left puzzled.

The villagers gathered and discussed about how to handle their situation, but couldn’t come up with any good ideas. In the end, they came up to one agreement. “Guess there’s no other choice, but to plead for help from a god during tough times like this.”
そこで、近いところにある神社やお寺をまわつて雨ごいをしたけど、いっこうに ききめがないもんで、京河さまへも、みんなそろっておまいりにいった。

親たちが一心におまいりしとるあいだ、子どもんたは、葉に埋まつた小さな池で遊んどった。		They went around to all the temples and shrines within the area and requested for rain. However, not once did it rain.

Finally, they journeyed to the stone shrine of Kyōgawa-sama. While the adults went to the shrine to appease to the god there, the children played around the pond.
水はちいとしかないと思って、池の水をかえどりして遊びはじめたげなら、池の中がどろどろと動きだし、それはそれほ大きいへビが、にゆうとかまくぴをあげたんやと。

村のしゆうは、びっくりするのなんの。大へんなさわぎとなった。		Expecting that there was just a tiny bit of water there, they started to push away the clutter covering the water. Suddenly, something started to move below the surface of the pond, then out emerged a giant snake.

This scene caused everyone around to get into an uproar.
おまけにその大きな へビが、「お前たちは、なにをそんないっしょうけんめいにたのんでおるんじゃ。」と、ことばをしゃべったもんやから、よけいにおそろしなって、動けずにふるえておったが、やっとその中のひとりが、

「この夏、雨がひとつぶも降らず、作物はあかんようになるし、飲み水もおおかたのうなってまい、とほうにくれて、京河さまへ雨を降らせてくださいと、お願いしとりました。」と答えたら、		“You all there, what is the reason for all this pleading to me with such urgency?” The giant snake spoke in human speech, which caught everyone by surprise. The crowd were speechless with fear, and noone replied immediately. Finally, one person emerged and spoke up.

“This summer, we aren’t able to bear any harvest, and many of us are thirsty as there is not enough drinking water due to no rainfall. So, we came to see Kyōgawa-sama and request to make it rain for us.”
「そんならこの池を、もうちょっときれいに、かえどりをしてくれ。必ず雨は降らせてやるからな。」と、また池の中へもどりこんでまった。

みんなで、池の主のいったことばどおりに、池をきれいにかえどりして帰ったと。

その夜おそうなって、ポツリポツリと大つぶの雨が降りはじめたときは、村じゆうの人たちが家から飛び出し、よろこぴあったというこっちゃ。		“If rain is all that you need, then can you clear the clutter in this pond and make it clean? I will surely make it rain if you do this for me.” The giant snake declared, then returned below the surface of the lake.

Doing as the owner of the pond requested, the villagers removed all the clutter, then went back home, and cleaned the lake on that same day.

Late the same night, large droplets of rain started to fall, making everyone in the village run out of their homes and cheering happily.
それからは、日照りがつづいたり、水にこまるときは、京河さまの池のかえどりをすると、ちゃあんと雨が降ったそうな。

いまでもその石の神社があるが、工業団地の進出によって、年に一度のお参りの伝統のみが残っているそうじゃ。		From there on, if there are periods of drought or when water is scarce, the villagers received rain whenever they cleaned out Kyōgawa-sama’s pond.

The stone shrine was still standing during those times until now. Due to the changes caused by modernization, it seems that all that remains is the tradition of the annual reverance of this deity.

This is a classical example of the age-old belief of locals giving prayers to deities for the sake of help during troubling times. It’s from tales like this that set the grounds for yearly traditional celebrations. What is the real story behind Kyōgawa-sama? Unfortunately there’s very little info related to the folklore. I’m even having difficulties finding the shrine dedicated to Kyōgawa-sama, along with the pond². The difficulties in uncovering more of the backstory is very strange.

This brings our article to an end. The folklore of Kyōgawa-sama is one of those few in Japan that illustrate snakes of any kind in a way where humans would revere to them for protection or good fortune…making it fitting for this Zodiac year.

1) I suspect that this was also the name of the stone shrine.

2) As hinted in the folklore, there are other strines within the general area. This is true today. From my research, doesn’t seem like any of them have any connections to Kyōgawa-sama.

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Non-Combatants of War

The following topic came about from the last article, where Minamoto no Yoshitsune is mentioned to have used the strategy to kill oarsmen in order to eliminate his enemies’ oppressive mobility. Why is this significant? It’s because an oarsman is viewed as a non-combatant, and based on context, should not be considered a threat. What is a non-combatant, who fits into this category, and are they truly untouchable during war?

This article is an attempt to review conditions of war outside of the heroics of warriors. This probably won’t be a 100% analysis, for there are too many variables for such a broad topic to cover. We’ll briefly look at those non-combatants who step onto the battlefield, environments outside of the designated fields of war that can be sieged on, as well as actions civilians caught in war can take to survive. This’ll be from the Heian period down to the commencement of the Edo period.

PASSIVE ROLES ON THE BATTLEGROUNDS

The following are non-warriors that take part in specific roles for the sake of war.

A section from a picture scroll called “Zenkunen Kassen emaki” (前九年合戦絵巻), where a drummer sits behind a tree while a small group of warriors prepare for war. From Kokugakuin University.
  • Priests and priestesses: There are rituals done for the sake of victory. Priests and/or shrine priestesses that serve the lord going into battle may conduct blessings rituals during different stages of a battle, such as right before the army sets out.
  • Monks: Like priests and priestesses, monks can be called for the sake of offering blessings. They may also provide moral support, through means like blowing a conk shell.
  • Drums and bell bearers: these individuals beat drums and/or chime bells for various purposes, such as to raise the morale of warriors to success, or to signal specific actions during skirmishes based on the orders of the commander.
  • Messengers and scouts: Special units of an army that use covert means to spy on the enemy, and deliver important messages to their side. They are active before, and during the clash of the war, if needed.
  • Boatmen and oarsmen: In certain situations where battles have to take place on water, locals who specialize in seafaring may be recruited to help transport their troops to face off with the enemy.
  • Servants and attendants: Normally retainers to high-ranking warriors, these individuals attend to the horses, assist with carrying necessary supplies, and other tasks their master shouldn’t worry about while fighting.
  • Field cleaners: There are those that may be requested to step onto the battlefield after the chaos is done to tend to specific tasks. This can include those who bury fellow soldiers, and women who prepare the severed heads of the enemy side for presentation with makeup.

This is a concise, generalized list which, if we look deeper into more specified roles of these individuals, can be expanded on.

INVASIONS AT KEY LOCATIONS

War grounds can take place anywhere, although both sides try to ensure that specific locations are advantageous to them. While it’s common to talk about when 2 sides clash in mutual agreement, what about when one side takes a bold move and invades another’s territory?

  • Fields and mountains: An invading army may use heavily dense fields or traverse through mountains for the sake of a surprise attack.
  • Castles (and castle towns): Depending on the type and size of the castle, invasion can be swift. Larger, prosperous castles also take responsibility of their castle towns, and may go as far as allow town dwellers entrance into the castle during emergencies¹.
  • From the sea: The enemy may use boats to embark entry into another’s territory, instead of marching by land. This option can be very critical for castles that are near the water, and have poor defense against this.

Villages, farms and shrines near these areas get caught in the middle of these invasions. Even though they are non-combatants, the people who dwell in these areas are prone to all sorts of trouble, which can include loss of resources, being held as hostages, tortured and/or violated, to even being killed. Those that act fast can make an attempt to flee to where ever they can find safety. If close enough, would they make an attempt to the land owner’s castle? Perhaps, but that’s only if they have the means to get there (ex. own a horse). Whether or not they can gain entrance is another story.

IN THE EVENT OF A SIEGE

An artwork entitled, “Nankō Chihaya Rōjō no zu” (楠公千早籠城之図), this depicts an all-out siege by the massive Bakufu army against Kusunoki Masashige and his allies as they walled up in Chihaya castle. In the end, Masashige’s side was able to outlast and claim victory in their castle defense with just a small force of 1000 troops. By Tsukioka Yoshitoshi.

Not all invasions are successful. Through the resourcefulness of spies who can gather intelligence on an enemy’s plans, and the watchful eyes of scouts, a lord of a territory can be alerted in advance about a possible invasion. From this point, certain actions can be taken, such as intercepting the opposition, or rallying neighboring allies to join forces and meet the impending threat head-on. There are even cases where non-combatants need to take up weapons and face off the enemy on the front lines, with the following examples:

  • Myōrinni (妙林尼) = Buddhist nun and wife of the defeated Yoshioka Akioka, she led both young and old inhabitants of Tsurusaki castle (鶴崎城) to successfully defend it against the Shimazu army².
  • Kai-hime (甲斐姫) = A concubine of Toyotomi Hideyoshi who assisted in defended Oshi castle (忍城) against Ishida Mitsunari and his allies. Donning on armor and wielding a sword, it’s said she lead a small army and successfully repelled further attacks.

However, what happens when these are not an option, except being holed up in one’s castle? When a siege is emminent, available troops and warriors may be stationed in designated points in the castle designed for battles, or stationed outside to try and resist the approaching enemy. Occupants of the castle who are not warriors (this includes servants, maids, and family members) are instructed to arm themselves in their residence and prepare to fight anyone who breaches the castle defenses. Such instructions are made based on worst-case scenrio, where if the castle’s warriors fail in repeling the enemy, they must be prepared to fight off the invaders themselves, and not allow themselves to be captured in the event no chance of escape is possible³. It is also not unusual for non-combatants to partake in the actual castle defense, especially by those who have been trained to wield a melee weapon, such as a spear or glaive.

In the event where an unexpected invasion occurs, the reaction may be vastly different. As warriors scramble to engage with the enemy, castle dwellers may be directed to areas in the castle to hole up and hide. In such cases, there may be soldiers accompanying these non-combatants to protect them, especially if safely escaping the castle has been blocked as an option by the opposition. In most cases, these non-combatants are ladies of the castle, whom are prioritized in keeping safe. When these ladies hiding in the castle are found and threatened by enemy soldiers closing in on them, what can they do? There are some records that mention how they cheer & rally on those warriors sacrificing their lives protecting them, as they lock intensely in battle against the enemy soldiers.

ENDING

To sum up, having non-combatants getting caught up in wars and conflicts is inevitable. In some cases they have tasks on the battlefield, although not to engage with the enemy. In other events, their peaceful lives can be disrupted when an invading army lays assault on their land, creating scenarios where they either have to stake their lives in the governing power’s hands, or take up arms and protect themselves. This is a topic that, through surviving stories and records, gives us an alternative view of war conditions in medieval Japan.

1) Admittance of entrance into a castle comes with limitations. There are certain areas that are off-limits regardless of the chaos caused by an enemy invasion. One of these areas is the hon maru (本丸), which is the main area where the castle dwellers reside in.

2) You can read an article about Myōrinni and her story here.

3) An example of a successful escape from a castle under siege can be read in the female servant Okiku’s tale here.

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Yoshitsune’s Treasure Trove of Knowledge ~ Part 2

Here’s part 2 of our discussion on Minamoto no Yoshitsune, and the continuation on analyzing his skills and techniques. A bigger conversation than his sword fighting techniques or types of weapons owned falls on his iconic strategies used during his military career. Since the battles he and his followers took place in are seen as revolutionary and unsurpassable for it’s time, much attention has been placed on studying them. In fact, it can be said that they inspired other generals and strategists to follow in suit and use similar tactics throughout Japan’s history.

This article will cover the military tactics Yoshitsune used in actual war campaigns, as described in novels and memoirs from the past. Along with this will be writings that set the foundation of his prowess, as well as how other groups pay tribute to his tactics within their own methods.

HIGHLIGHTS OF YOSHITUNE’S TACTICS USED IN BATTLE

The following tactics are from Yoshitsune’s life experience through warring against the Taira clan. These have been recorded and retold through sources such as “Heike Monogatari” (平家物語), “Azuma Kagami” (吾妻鏡), and “Gikeiki” (義経記).

An artwork entitled, “Ichi-no-tani gosen Hiyodori-goe yori Suto-no-ura o miru zu” (一ノ谷合戦 ひよ鳥越より江戸の浦を見る図) Featured here is Yoshitsune and his group laying hidden, in preparation for an ambush. By Utagawa Kuniyoshi. From ukiyoe.com.
  • Ambushes & surprise attacks: An example of Yoshitsune relying on guerilla-style warfare can be seen during the battle at Ichi-no-tani (一ノ谷) in the 3rd month of 1184, where he and his army ambushed an already defeated Taira clan from a prior skirmish. While the opposition was descending down a rather steep side of a mountain heading towards the western coast to board their ships and regroup, Yoshitsune’s surprise attack was swift and unexpected, as he and his group hid in areas around the mountain that appeared untouched for ages, then storming out from these unexpected angles. He also incorporated fire attacks around the mountain, adding to the chaos. Caught off guard, the Taira clan retreated hastily down the cliff in an effort to escape and rushed to their ships, with those unfortunate either being slain by the ambush, or drowning to death.
  • Deception tactics: In the 2nd month of 1185, the Minamoto and Taira were set to go into battle against each other at Yashima (屋島). In preparations against the Taira’s much larger army whom tried to embark on the island quietly, Yoshitsune set ablaze the homes in a town called Furutakamatsu (古高松) not too far from the opposing side, and raised many white flags. This was all to make it seem that the Minamoto had a very large army of their own. The Taira force fell for this deception, causing them to retreat back to their boats and flee for their lives.
  • Advantageous retreats: During the 4th month of 1185, the Heike and Minamoto clashed in their final battle in the sea at Dan-no-Ura (壇ノ浦). Each side were locked in grueling fights while on small boats. At one point, Yoshitsune is challenged by the a fierce opponent named Taira no Noritsune (平教経), who makes his way onboard. Not taking the chance, Yoshitsune retreats by leaping from his boat onto another comrade’s boat. He supposedly repeated this until he gained enough distance from Noritsune, around 8 times. Along with putting distance between them, Yoshitsune forces Noritsune to venture deeper within the Minamoto side, if he chooses to follow. This amazing feat is nicknamed “Hassō Tobi” (八艘飛び), or “8-Boats Leaping”¹.
  • Breaking protocols of war: During the sea battle at Dan-no-Ura, the Taira forces used local oarsmen to pilot their small boats while the warriors focused on fighting as they closed in on the warriors of the Minamoto army, giving them the advantage. There was an unspoken rule to not attack non-combatants, which included oarsmen. However, Yoshitsune ordered his troops to aim for the oarsmen and shoot them dead with their bows. This order was carried out, eliminating Taira’s mobility, and forcing them to deal with the unyielding close quarter skills of the Minamoto force. This unethical tactical approach is nicknamed “Kinji Te” (禁じ手)².
An artwork showing Yoshitsune using his signature “Hassō Tobi” skill to leap away from his enemy. From a dice game featuring a collage of scenes from Yoshitsune’s life called “Yoshitsune Ichidai Kunkō Sugoroku (義経一代勲功双六). By Utagawa Yoshikazu. From Wikimedia Commons.

These four battlefield strategies are seen as not only revolutionary at the time of use, but they go against the grain in what was considered standardized, universally expected protocols when going into war. To many, Yoshitsune’s methods were seen as unrefined, barbaric, and dirty. Yet, they demonstrate an intellectual, free-minded approach that got the job done for the greater purpose. In the end, the strategies of Yoshitsune are said to have a strong influence on the development of warfare in Japan years after his death³.

THE SECRET CONTENTS OF TORA NO MAKI

A pic of a large scroll of Tora no maki. First part, featuring a “Tenbatsu Reibun” (天罰礼文), a promissory note to uphold the contents, or face divine punishment.

Another highly acclaimed source of knowledge goes to one called “Tora no maki” (虎の巻)⁴. This is said to be a documentation of important methods for success. While this is normally referenced to while speaking about Minamoto no Yoshitsune, there are some points that need a bit of clarity, not only to get the full picture of this secret knowledge, but to properly understand which of these is being referenced. There are actually two Tora no maki documents that are connected to him, one while he was at Kurama Temple, and another after his accomplishments.

#1. Yoshitsune’s Secret Teachings on War Strategies

Let’s talk about the one that comes after his success as a general first. A documentation bearing numerous titles including “Yoshitsune Tora no Maki” (義経虎の巻), and “Hyōhō Tora no Maki” (兵法虎の巻)⁵, this documentation has a great emphasis on esoteric methods such as the use of Kuji no hō (九字の法) and Jūji (十字). To elaborate further, Kuji no hō, or “9-Hand Seals”, is a method of energy-attuning through the use of 9-syllable mudras and mantras, while Jūji, or “10th-Seal” is a tenth component of this method to activate the desired result. These are methods widely associated with Mikkyō (密教) and Shugendō (修験道), both a form of esoteric Buddhism, while different groups have made use of these methods, which includes military commanders, strategists, and practitioners of ninjutsu.

The ritualistic methods of using Kuji no hō is for the sake of protection, as well as preparing for battle that coincides with how the Japanese fought battles around the Kamakura period. This is explained in different sections regarding a multitude of situations one can face and how to handle them. Here are some of them.

  • 軍場出作法事 = Preparations for heading out to the battlefield
  • 敵打行時酒飲作法之叓 = Performing a sake ritual when leaving to eradicate the enemy
  • 軍神送時聲作ル作法事 = How to evoke protection from the God of War
  • 甲冑箭不融秘術之事 = Secret method for making one’s armor arrow-proof
  • 魔録者切秘術之叓 = The enchantment done by the conjuror
  • 神道弓作事 = Secret technique for crafting a Shintō bow

There are numerous versions of this particular Tora no maki, with no indication as to which is the original version. Many of them are replicas of another, and distributed for different purposes. Can the contents of this Tora no maki truly be linked to Yoshitsune? This is one area I can’t give a definitive answer, but due to its popularity, many have viewed this as valuable enough to want to collect and learn from.

From the pages of “Yoshitsune no Tora no maki – Hyōhō Hijutsu” (義経虎巻 兵法秘術), which features descriptions on how to handle varying situations, and ending with mantras that are accompanied with hand seals (left). Also included are arranging specific environments for the sake of auspicious practices (right).

#2. The Tiger Strategy book

The next type of of Tora no Maki is the one that originated from China, and which came into Yoshitsune’s hands through Kiichi Hōgen, one of his teachers at Kurama Temple. This is not its official label, nor is it a single documentation of its own; rather, it is like a volume from a larger documentation called simply “Rikutō” (六韜)⁶, or ” Six Secret Teachings” in English. The author of this is Jiang Ziya, a figure who was hailed as being a wise and talented general during the Zhou Dynasty. It is often identified as part of an important collection of Chinese-developed classical war stratagems, which includes the military text by Sun Tzu’s widely known as “Art of War”, and the thesis on civil, political, and war strategies known as “Thirty-Six Stratagems”. In the Six Secret Teachings, there are 6 books, so to speak, that make it a complete package.

  • 文韜 = Civil Strategy
  • 武韜 = Military Strategy
  • 龍韜 = Dragon Strategy
  • 虎韜 = Tiger Strategy
  • 豹韜 = Leopard Strategy
  • 犬韜 = Dog Strategy

Each book covers a vast amount of topics, from the perspective of Jiang Ziya taking the role as an advisor to King Wen, who would ask about various topics of concern, then receiving advice with great insight. These topics were compiled and centered around a specific theme that makes up each book. The Tiger Strategy book, or Tiger book for short, covers scenarios concerning war and combat. The following are the topics in the Tiger book, along with a brief outline of their contents.

  • 軍用 = Inventory of your army’s weapons and tools
  • 三陳 = Three battle formations
  • 疾戦 = Swiftly surrounding the opposition
  • 必出 = Escaping an enemy’s encirclement
  • 軍略 = Strategies on army deployment
  • 臨鏡 = Skirmishes within another territory’s borders
  • 動静 = Halting an enemy’s covert actions after gathering intel
  • 金鼓 = Knowing when to advance and retreat (nicknamed “utilizing war gongs and drums”)
  • 絶道 = Tactics when communications have been cut off
  • 略地 = Territorial invasion
  • 火戦 = Military prowess through the use of fire
  • 壘虚 = Uncovering the specifics about the enemy’s encampment

To summarize the Tiger book, it closely covers tactics on the battlefield, from understanding one’s own strengths, use of guerilla warfare, performing fast maneuvers with an army, to using fire attacks. Yoshitsune’s battlefield tactics closely resembles what is discussed in this book, thus thought to be the prime inspiration for his style of fighting, and in turn, making his campaigns very successful. Although part of a bigger collection, since the topics of the Tiger book focuses solely on military prowess and going into battle, it actually can be a stand-alone in its own rights.

Pic of the 1st pages in the Tiger Strategy section from the Six Secret Teachings, written in Chinese.

How did such a foreign writing get associated with Yoshitsune? First, we must understand that many cultural influences were brought over from China for several centuries during Japan’s prehistoric times. Although this would slow down at some point, literature from China, including documents on war, would continue to be a source of interest as Japan became more enthralled in war and conflict during the Heian and Kamakura periods. However, something like the Six Secret Teachings was a scarce material, only accessible by few of high status, or those who had some form of connection with those who make the journey to trade with China. Kiichi is portrayed as not your ordinary monk, and probably had connections in order to gain a copy of the Six Secret Teachings…or maybe just the Tiger book?

In historical chronicles like Gikeiki, it’s explained that Yoshitsune was able to read the Tiger book behind Kiichi’s back⁷. So, it’s possible that this was the only volume that Kiichi possessed…or maybe he did have all 6 books, but the most interesting one to Yoshitsune was the Tiger book?

MEANING BEHIND USING THE “YOSHITSUNE” LABEL

Let’s revisit the phenomenon where tribute to Minamoto no Yoshitsune’s legacy is given through concepts compiled and passed down as a form of working method. One of the more obvious representations of this can be found in particular martial arts styles that use the name “Yoshitsune” in their title.

Pics of the cover of “Iga Nin Hi no kan” (いが忍火之巻) (left), and a page describing a torch-like device called “Yoshitsune no Hi” (義経火) (right).

Outside of Yoshitsune Tora no maki and the many versions out there with similar contents, these martial arts styles have scrolls, manuscripts, and the like with listings of skills and/or techniques for combat, or “secret” teachings. Many of these styles are shitsuden (失伝), which means they are no longer active due to no current successor, indicating the lineage has ended. Are the contents genuinely linked to him? It is hard to say yes. While there are those that are paying recognition to his skills and tactics, there are others that use his name just to bolster the image of their style. This isn’t unusual, for this became a common practice from the Edo period onward.

Let’s take one, titled “Yoshitsune ryū Jūjutsu” (義経流柔術). This manual was written around the Edo period, and comes from the collection of the late Tokugawa Muneyoshi, a 2nd Lieutenant of the Imperial Japanese Army. Outside of the standard hand-to-hand fighting and grappling techniques, from what I understand, there were unique training methods within this style, which includes developing strong & agile legs through jumping out from a deep hole in the ground. As special as this sounds, it’s actually a focus many other jūjutsu systems adopted, even around the same time. Being a hand-to-hand system, it’s safe to say that Yoshitsune ryū Jūjutsu has no real connection to Yoshitsune. Is it just a case where this system has “Yoshitsune” tagged in the title to attract attention? Possibly so. However, it is also thought that this system was inspired by the many heroic tales of Yoshitsune and how he handled opponents with swift movements, which may have influenced this style to go in the same direction with their fighting techniques…or at least stand out amongst other jūjutsu schools.

Pics from Mansenshukai (満川集海), vol. 21 entitled, “Ninki” (忍器) (left). On page 15, a fire technique called “Yoshitsune Mizu Kagari-bi” (義経水炬火) (right).

There are also those documents that are military/wartime-centric, where the focus is on larger environments and combat against groups and survival are of greater importance. The types of documents, whether in the form of manuals or scrolls, pay tribute to Yoshitsune’s fighting methods by simply referring to it.

Let’s take “Mansenshukai” (満川集海) as an example. Being a renown collection of skills and teachings associated with ninjutsu, there are a few techniques that are tributed to Yoshitsune. There’s one called “Yoshitsune Mizu Kagari-bi” (義経水炬火), which is a special torch used in water environments. Another document is “Iga Kajutsu no maki” (伊賀火術の巻), which is a ninjutsu manual possessing a collection of skills used by those from the Iga region. Here, we see a technique called “Yoshitsune no Hi” (義経火), which is described as a form of handheld torch. Manuals like these that have skills concerning fire seem to have been inspired by the strategies used by Yoshitsune and his followers during battles against the Taira clan. This includes a particular impromptu skirmish at Mikusayama, Harima Province⁸ in 1184, where Yoshitsune devised torches which were used by him and his followers to set ablaze the fields and the shrubbery around a nearby mountain to not only halt Taira troops that were moving at night to group up, but foil them from amassing into a large army that would have otherwise overwhelm the Minamoto force if they clashed the following day⁹.

CONCLUSION

We come to the end on this 2-part series on Minamoto no Yoshitsune, and the numerous recorded combat knowledge that contribute to his legacy. With his life experiences and the tools used recorded within the pages of history, and expanded on as new information is uncovered, there’s no slowing down in how he remains popular with each new generation…not just in Japan, but worldwide. It’s safe to say that having access to all this knowledge is a way of having a strong connection to this famous general, whether they were actually devised by him, or emulated from descriptions of his exploits.

1) Another thought is that he jumped a distance of about 8-boats length. Interpretation can go either way based on a few factors. For example, these boats the warriors were fighting on were small ones like skiffs, and not the size of ships. If we read into this and imagine Yoshitsune jumping a great distance to escape, while onlookers are dazzled by his great feat that they liken the jump distance to being able to cross over 8 small boats, then yes this could make sense. Still, the popular opinion is not the jump distance, but the agility to leap repeatedly from numerous boats, which shows great skills and endurance especially since Yoshitsune was wearing full armor.

2) This word is also used in competitive matches or games. Based on interpretation, Kinji Te can be translated as either “forbidden tactic” or “dirty move”.

3) It is said that, due to failing relations with his half brother Yoritomo after the Minamoto gained control over the Capital, Yoshitsune was forced to commit suicide after being overwhelmed by an unexpected attack and betrayed by Fujiwara no Yasuhira, an indivudual who swore to protect him. However, there are other claims that Yoshitsune actually escaped and survived, with one even stating he sailed out to Mongolia and changed his name to a famous conqueror Genghis Khan!

4) Tora no maki is an old word, but its meaning has evolved over the years. Originally it referred to secret teachings and methodologies concerning combat on a very large scale, such as on the battlefield. Over the centuries, the term was slowly being used for not just martial arts, but areas related to the arts and crafts as a whole, such as flower arrangement and the like. In modern times, Tora no maki evolved to also mean secret tips or hints to better a person in various fields, which is especially common in the educational field, where it is used to aid students in their studies, exams, and the like.

5) Pronounced “Liu Tao” in Chinese.

6) There are even those that are callled “Kiichi Hōgen Hyōhō Tora no maki” (鬼一法眼兵法虎之巻), “Kiichi Hōgen Sanryaku” (鬼一法眼三略), and other similar naming convention. Despite Yoshitsune’s teacher’s name is used here, for the most part, the contents are in line with other variants, although how they are presented may be written in a different format. A good example of this is the one kept at the temple Kuramadera. This can be viewed online here.

7) How Yoshitsune acquired the Tiger book differs between sources. One of the more interesting ones is how Yoshitsune was able to sway the daughter of Kiichi Hōgen to take the Tora no maki and deliver it to him in secret.

8) Present day Katōshi City, Hyōgo Prefecture.

9) As told in the 9th volume of Heike Monogatari, in the section entitled, “Mikusa no Gassen” (三草合戦).

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Tale of a Samurai Losing to a Red Bean Mochi Cake

Winter is officially over today in the US on 3/20¹. The same can be said in Japan, as it ended on the day of shunbun (春分)². As Spring is now upon us, we all expect life of mother nature to revive as the weather gets warmer, and flowers start blooming. Those who follow traditions in Japan may eat specific snacks on the day of shunbun, such as botamochi (ぼた餅), which is a mashed rice cake covered in sweet red bean paste.  

A pic of botamochi. From Photo-AC.

In accordance to the 1st day of Spring, this article will introduce a rather interesting fable from Yamagata Prefecture, which is about botamochi and terms used to describe it. These terms are enough to make anyone fear for their life…including a samurai!

Han Goroshi to Hon Goroshi³ (Half-Beating and Full-Beating)

There’s a story a long time ago, where a lone samurai from the Capital⁴ sets off on a journey, which takes him into the mountains⁵. He traverses through the mountains all day till late in the night, where he finds himself wandering around aimlessly, until he finally comes to a single mountain hut. He knocks on the door, which was then opened by an old man. The samurai requests to stay in the hut for the night. The old man sits in front of an open hearth next to an old lady who is his wife, and after consulting with her, they both agree as long as the samurai was okay with their shabby hut.

Given warm thin rice porridge as a meal by his hosts, the samurai eats his fill, then retreats to a room prepared for him to rest. He falls asleep almost instantly, as he was tired from his long trip. However, in the middle of the night, he wakes up to the low conversation between the elderly couple, which prompts him to eavesdrop for awhile. The part of the conversation he hears wakes him up completely.

“Should we give him one ‘half beating’ tomorrow? Or what about a ‘pounding by hand’?” Asks the old man.

“This samurai’s from Edo, right? A ‘half beating’ should be enough for him.” The old lady replies.

Hearing this dialogue, the samurai was shocked. He concludes that this plot to beat him, possibly to death, could only be that of mountain bandits, and he just so happened to fall into their den. No longer able to sleep with those troubling thoughts on his mind, he lays down on his bedding, clutching his sheathed sword tightly to him. He remained vigilant, staying on full alert to defend himself, all night long until sun rise.

With morning upon him, the samurai was sleep-deprived. Expecting an attack from his would-be assailants while they thought he was asleep, he was surprised that no such incident occurred. Still, despite being tired, he stayed alert, with his hand ready on the handle of his sword.

A pic of a samurai, poised to draw his katana. From illust-AC.

Just then, the samurai could hear sounds coming from the area around the open hearth, along with the voices of his hosts.

“Hey, you done with the ‘half beating’ yet?” The old man calls to the old lady from a different room.

“Not yet, wait a little longer.” She responds, sounding like she was beside the open hearth. From their conversation, the samurai was certain they were about to set their plan into motion and attack him at any moment. Wanting to get the upper hand, he gets up and quickly bursts out from his room, ready to strike his would-be assailants.

Surprised that the samurai was already awake, the old lady greets him in good spirits. The sleep-deprived warrior calms down as he analyzes what’s before him; the old lady sits down on a mat with a mortar beside her, while kneading something in her hands. As he looked confused, the old lady offered him something.

“We don’t have anything else here, but thought you could at least eat a ‘half-beating’.” In the old woman’s hand, a dark-colored mochi s presented to him. The samurai immediately recognizes it to be a botamochi.

“Wha…this ‘half-beating’ is actually an azuki bean⁶ mochi? Then, what’s a ’pounding by hand’?” He ask curiously.

“Ahh, ‘pounding by hand’? That’s our homemade soba noodles. And a ‘full-beating’ is for mochi⁷.” The old lady responds with a smile.

Realizing his misunderstanding, the samurai loses all power in his legs and collapses onto his bottom down on the floor.

~ The end ~

In the original tale, the terms that the samurai heard from the elder couple are the following:

  • Te uchi (手打ち)
  • Han goroshi (半殺し)
  • Hon goroshi (本殺し)

Normally, these terms are of a violent context, which you would hear in relations to fighting. Te uchi means “to strike” or “to slap” someone with one’s bare hands, han goroshi means “to beat a person to the point where they’re on the brink of death”, and hon goroshi means “to certainly beat a person to death”. Anyone, especially a samurai who trains expecting death in combat, would immediately interpret such terms as dangerous, especially when applied towards someone. However, it seems that these terms have a unique usage in Yamagata when making treats or food. Since the samurai was from Edo and not from Yamagata⁸, hearing the colloquial use of those words that are normally used for violence alarmed him. From his perspective, one can understand how he felt. In present day, all countries have words that possess multiple meanings and usages, especially for cooking. In English, “beating” an egg is commonplace, but imagine a time when using such expression was unheard of.

ENDING

This concludes today’s article. The tale itself is light-hearted, and illustrates the unique culture of different prefectures in the past. Here’s looking to a fresh start on the 1st day of Spring!

1) I say this figuratively, for where I’m at it is wet & snowing outside.

2) Also known as “Shunbun no Hi” (春分の日), this year it falls on 3/19 in Japan, which slightly coincides with the US date of 3/20.

3) Title in Japanese is “半殺しと本殺し”. Here’s a version of the tale here.

4) The word “Capital” is not mentioned here, but later in the story it is, through the word “Edo”. Adding this for context purposes. Speaking of which, the Capital city at this time is Edo (Tōkyō), meaning that this tale takes place during Edo period, possibly as early as the late 1600s.

5) Most likely the samurai was on a musha shugyo (武者修行), or training journey.

6) Azuki (小豆) is the Japanese word for red bean.

7) In other words, mochi with nothing added to it is “hon goroshi”, with “hon” (本) indicating standard, or base.

8) Edo is present-day Tōkyō City, in the east. Yamagata is in the northeastern region of Japan, and is north of Tōkyō.

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Yoshitsune’s Treasure Trove of Knowledge ~ Part 1

Minamoto no Yoshitsune is a name many are familiar with. Being an actual historical figure, Yoshitsune is elevated to legendary status through his exploits as a warrior during a chaotic period where 2 sides engaged in war over control of Japan. His exploits have been documented and retold through numerous mediums, from written records, theatrical performances, to TV shows. His fame has reached modern times, for even if you are not so versed in Japanese history, there are chances that you have come across his name in pop culture, which includes comics and video games.

Yoshitsune is viewed as a protégé in both martial arts and military affairs, which is a large appeal to many. In fact, many have made strides to keep alive, albeit few, his knowledge of combat. This extends to martial arts styles that not only give credit to him, but have skills and instructions accredited to his documented combat sense. These attempts are even visible in the scrolls of defunct styles (most of which were devised centuries later during Edo period), some of which are named after him, as the contents claim to be of instructions of his fighting style. While it’s safe to say that Yoshitsune himself didn’t create any style of his own, his exploits were vividly recorded where they may have given inspiration to others to develop similar techniques and strategies. How much of his legacy was preserved? Let’s proceed with the following discussions below.

Painting of Yoshitsune training with the great Tengu monk Sōjōbō on Mt. Kurama. By Tsukioka Yoshitoshi.

MYRIAD OF WEAPONS

Out of the pages of official records such as Azuma Kagami (吾妻鏡), as well as war chronicles like Gikeiki (義経記), are the names of strategies, techniques, and weapons Yoshitsune used in his illustrious career.

Yoshitsune’s combat experience heavily weighs on kenjutsu, which he was proficient in from a young age. The source of his swordplay stems from Kurama Temple on Mt. Kurama, the source of knowledge for all established sword schools in Japan, where he stayed for several years during his youth. From Kurama Temple hails the famous style “Kyōhachi ryū” (京八流), which is said to contain methods of swordplay and other strategies spread througout Japan through 8 disticnt schools, with Yoshitsune’s thought to be the first.

Before going through specific techniques, let’s examine actual weapons Yoshitsune once wielded when he was alive. Keep in mind that some of these are either claimed to be of his possession, or are recreations.

A snapshot of the collection at Kurama Temple’s website. For reference only.

#1: Kuruma dachi / Sha dachi (車太刀)
DIMENSION: ???
MAKER: ???
Although identified as a tachi (battlefield sword), it doesn’t come even close to the standard length of one. This aligns more to the length of a kodachi (short sword) that would normally be worn alongside with a tachi. However, what sets this apart from the normal kodachi is the unusually wide curve generally found on a tachi. Used since his youth, it’s thought that its short length allowed Yoshitsune to utilize fast, agile, and graceful movements, which allowed him to outbest others in duels or fights. Not as long as a standard tachi, it’s also not so short where it has no reach similar to a knife, setting it as a versatile weapon against any opponent. This balance in both length and versatility was adopted by other sword schools associated with the swordplay from Mt. Kurama, which includes sets of techniques and strategies against those with longer swords being taught.

This sword is currently in the safekeeping at Kurama Temple (鞍馬寺, Kuramadera). No pictures are allowed to be taken while visiting, so outside of the actual website for the temple, it’s difficult to see in greater details online.

#2: Usumidori (薄緑)
LENGTH: around 80cm
MAKER: Chōen (長円)
This is a sword that has no concrete origins. Believed to have been first mentioned in the war chronicle Heike Monogatari (平家物語) as “Tsurugi no Maki” (剣巻), it’s speculated to have been in the possession of the Minamoto family for quite a bit of time. In fact, some believe that it was passed down within the Minamoto family for several generations alongside with other swords, such as Higegiri (髭切). Depending on the source, it goes under numerous names as it is used in different scenarios not just by Yoshitsune, but his half brother Minamoto no Yoritomo as well, such as Hizamaru (膝丸). Nowadays, this sword is recognized under the label “Usumidori”.

This is often labeled as Yoshitsune’s favorite sword. Depending on the source, the length of Usumidori is measured about 80cm. It is a sword he’s said to have carried on his person since his youth after he received it during his stay at Kurama Temple. Various documents reference this…however it is known by numerous names.

To make matters even more confusing, there are apparently 3 sources that claim to have the authentic Usumidori. One of these sources is a private collector by the name of Ishijima Morio (石島護雄).

#3: Naginata (薙刀)
MAKER: unknown (unsigned)
While not normally associated with him, Yoshitsune is said to have been adept with a naginata. There’s really not much info on the actual naginata itself, nor about the instances he used it while in battle.

It is kept at the shrine Ōyamazumi Jinja (大山祇神社) in Imabari City, Aichi Prefecture, which is the same location where Yoshitsune’s loyal retainer, Musashibō Benkei’s famed giant naginata is. Unfortunately, photography of it appears to not be allowed, thus why there’s no pictures of it up on the Internet to easily review it.¹

#4: Ima no Tsurugi (今剣)
LENGTH: 18 ~ 24 cm²
MAKER: Munechika (Sanjō)
This is a bladed weapon that is thought to have been in use between the Nanboku period and the Muromachi period. Mentioned in the Gikeiki as Yoshitsune’s beloved sword, it is stated to once have been a very long sword³ received from one of the priests at Kurama temple when he was younger. However, it appears to have survived into today’s generation the length of a tantō. Why the drastic difference in length? One thought is that there was an error in how it was documented, where the length being written as “6尺5寸” (around 197 cm) should’ve been written as “6寸5分” (around 24 cm). This could be the case, especially since it’s also documented as being the blade used to commit suicide.

While it was deemed as missing for several centuries, this Ima no Tsurugi was reported as found in Mutsu City, Aomori Prefecture in 2015, then went on display for public viewing in 2016.

#5: Tomonari-saku no tantō (友成作の短刀)
MAKER: Tomonari (友成)
An unnamed blade, only recognized by the swordmaker’s name on the tang. Believed to be the product of a swordsmith of the Ko-Bizen line. While not much details in sword-related documents like Chōkyō Meizukushi (長享銘尽), it is thought to actually be the length of a tantō, or a very short sword that would align closer to a knife.

Outside of it being documented, this weapon is currently lost in history.

#6: Nodachi (野太刀)
MAKER: ???
A very long battlefield sword, it is claimed that Yoshitsune used this particular one in battle, which is in the collection at Kurama Temple. In fact, there are two present, one for Yoshitsune, and the other for Benkei. Like many of the antiquated items there, no photos or further details online other than what is present on Kurama Temple’s website, so currently no way to prove this claim.

#7: Minamoto no Yoshitsune no chōshin tachi (義経朝臣太刀)
MAKER: ???
When Yoshitsune was appointed by the Imperial court his position as General, this tachi may have been acquired to signify his position. Appearing to be of the general length of a long sword, it is also adorned lavishly. One of the treasures said to be of Yoshitsune’s, it is in the possession of Kuramadera, which is visible online. There is also a note that it was restored, which can be interpreted in many ways. Apart from this, no other information about this sword.

One thing to note is, outside of the naginata, almost all of the swords mentioned (especially the ones deemed as a candidate for being his most cherished blade during his youth) are pretty short in length. Most are described as being either the length of a shorter tachi or fitting the image of an actual kodachi. This is probably to align with Yoshitsune’s portrayal as both graceful and elusive with his swordplay, and occassionally incorporating small items to distract his opponents before taking them down. This idea was further followed by the other sword schools part of Kyōhachi ryū, where specific forms and strategies evolved around using a shorter sword. One lingering question regarding all this would be, “which one is the real sword of Yoshitsune during his youth”? It’s highly possible that all these short swords are one in the same, with varying dimensions details to the appearance, and stem from the same documented sources. However, we can’t disregard the idea that many of them may just be recreations, since there are so many that claim they have in possession the “real deal”.

SWORD TECHNIQUES

Looking further into his sword skills, there are few scenes from where Yoshitsune’s fighting style is presented in details. There is one particular incident where, after his coming of age⁴, he sets off from Kurama Temple, descends the mountain, and accompanies a traveling gold merchant who’s familiar with his father. It is from here that Yoshitsune comes upon a large gang of thieves led by an individual identified as Kumasaka Chōhan (熊坂長範)⁵. Despite being outnumbered, Yoshitsune was able to skillfully defeat Chōhan and his criminal gang thanks to his quality training at Kurama Temple.

A scene from the theatrical performance “Eboshi Ori”, with a young actor playing as “Minamoto no Yoshitsune” (right) battling against another actor taking the role of “Kumasaka Chōhan” (left). Can be viewed on YouTube.

In certain sources, there were a few sword techniques presented as being used during the battle. Particularly, there is a theatrical rendition called “Eboshi Ori” (烏帽子折), which is said to give visual details of these techniques in action. The following are those said techniques below:

  • Kiri no Hō (霧の法)
  • Kotaka no Hō (小鷹の法)
  • Shishi Funjin (獅子奮迅)
  • Ko Rannyū (虎乱入)
  • Hichō no Kakeri (飛鳥翔)

Here’s some explanations regarding each of these techniques.

Kiri no Hō / Kotaka no Hō: These 2 are not necessarily specified attacks, for it is said that they don’t appear in scrolls of classical sword schools that have connections to the swordplay of Kyōhachi ryū. Instead, they are more like higher-level methods of combat, as the names became more commonly used in martial arts schools from Edo period onward. This doesn’t mean there’s any actual relations to Yoshitsune, per say.

Shishi Funjin / Ko Rannyū / Hichō no Kakeri: These 3 are names of actual sword techniques. While one would be suspicious of these techniques being real, in truth there are sword schools such as Shintō ryū and Chūjō ryū that actually have one or more of these techniques listed as part of their curriculum. For the 1st and 2nd techniques, their movements are more aggressive in nature, while the 3rd technique represents much agile, elusive movements⁶. These techniques, from their respectful systems, don’t directly reflect what is presented in the Eboshi Ori theatrical play, though. One can view this as the director of this performance possibly consulting with a particular school(s), and only gaining inspiration from the information that was shared.

To the right, a picture scroll of techniques from Kage ryū, with the top labeled “Shishi Funjin”. From the right, a page from a manual of Chūjō ryū, with descriptions for “Ko Rannyū”.

Whether the movements shown in the performance for each technique are the same in execution to the sources they come from or not, the fact that there is this connection between different kenjutsu ryūha is one of the reasons why Kyōhachi ryū is thought to have been real. At the very least, it can be thought that the essence of the techniques themselves, said to be drawn from Yoshitsune’s swordplay style, are inspirations for each kenjutsu ryūha.

CONCLUSION

Just by covering more tangible points such as weapons and fighting techniques, we get an idea of how much impact Minamoto no Yoshitsune, drawing the attention of many who became fans of his story. While his life history is fairly grounded, novel-like stories and live performanaces retelling about his past often present him and his abilities bigger than life, thus the large collection of weapons all claimed to be that very one he grew up with. As for sword techniques, martial arts schools hold their link to his legacy through just the few mentioned, and retain them as proof of the validity of Kyōhachi ryū. This concludes part 1 here. We’ll pick up with part 2 in the next article, which will cover topics including recorded strategies, and martial systems & battle skills that bear Yoshitsune’s namesake.

1) I have managed to find one picture online, but since it is from someone else’s social media account, I decline posting it here.

2) I’ve seen it reported as 18 cm, as well as about 24 cm. The difference in length could be that one is for the length of the blade alone (from tip to base, right before the tang), and the other measuring the entire sword length (including the tang).

3) It is estimated that Yoshitsune left Kurama Temple between the age 15 ~ 16.

4) This is ōdachi (大太刀) in Japanese, which is generally described as a sword much longer than a regular battlefield sword (ie. tachi) of that time period.

5) Depending on the source, the gang leader’s name varies. In some cases, such as Gikeiki, a name is not mentioned.

6) Animals are part of these techniques’ names, which seem to indication the type of movements that would be involved. Shishi Funjin has “lion”, Ko Rannyū has “tiger”, while Hichō no Kakeri has “flyig bird”.