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Tenga Goken: The 5 Great Swords of Japan ~ Part 3

The second sword we are looking at from the famed Tenga Goken is the Mikazuki Munechika (三日月宗近). This sword has a history of passing through the hands of elite families, all the way up to modern times. Let’s take a look at the specifics:

Images of the Mikazuki Munechika (blade only, top) and its saya (scabbard, bottom). From Wikipedia.

  • Status: national treasure
  • Blade length: around 78.2 cm
  • Curvature: 2.7 cm
  • Width: 2.9 cm
  • Wrapping: tachi-style with (silk?) thread-wrapped handle, paired with a scabbard
  • Maker: Sanjō Munechika

Unlike the Onimaru Kunitsuna, there is more info on the Mikazuki’s construction, from the number of mekugi ana (holes for rivets on a sword hilt) in its tang, to the type of threads and brass that adorns its handle. Due to how detailed the descriptions are about its features, the Mikazuki Munechika is considered the most lavishly adorned out of the Tenga Goken. As a national treasure, it is currently being kept at the Tokyo Kokuritsu Senbutsukan (Tokyo National Museum).

Specific info regarding the origins of the Mikazuki Munechika come from a 1488 old record called “Chōkyō Meizukuri” (長享銘尽). As an example, it is though to have been made sometime in the 10th century of the Heian era, during the reign of the Emperor Tenjō. There are also info about it bearing the signature “Sanjō” on its tang, and is made by “Sanjō Kokaji Munechika” (三条小鍛冶宗近)¹ of the Sanjō craftsman group, are listed. This sword’s name being  “Mikazuki” is also stated here. The following line from the “Kyōhō Meibutsucho” (享保名物帳) hints on how this name came to be. The original Japanese is presented, followed by my transliteration.

JAPANESE:「三ヶ月と申す仔細は三ヶ月形の打のけ数々有之依て名付たる由」

TRANS: “The reason behind it getting the name “Mikazuki” is based on the client’s request, where, under specific instructions, the blade was struck repeatedly during the crafting process into a thin blade bearing the shape of a 3rd-day moon (crescent moon)”

While there is an “accepted” history, the list of owners of the Mikazuki Munechika is not definitively confirmed, as there seems to be varying sources. We’ll begin with the 1st theory, which begins with Hino Uchimitsu.

THEORY #1: ORIGIN THROUGH UCHIMITSU

Hino Uchimitsu (日野 内光) was the 2nd son of  Tokudaiji Saneatsu, a senior court official in the Imperial Court during the Muromachi period. Born in 1489, he was a high-ranking noble who held different ranks in the Imperial court. It’s not stated how Uchimitsu acquired the Mikazuki, but most accepted sources say that its history starts with him.

Uchimitsu took part  in the conflicts that erupted between Hosokawa Takakuni and the loyal followers of Kozai Motomori, Hatano Motokiyo and Yanagimoto Kataharu. When Takakuni had Motomori commit suicide, the two brothers revolted against him, raising a force to attack his castles. Different influential individuals were called to assist from both sides, with Uchimitsu siding with the brothers.

In the 2nd month of 1527 Uchimitsu took part in one of the battles, which occurred within the region of Katsurakawara in Kyoto prefecture. He led his force and faced off against Hosokawa Takakuni’s army, wielding the Mikazuki. However, Uchimitsu was killed during the course of the battle. It is said that to this day, you can see a chip in the sword, being proof of him using this sword in battle.

The faith of Uchimitsu and the Mikazuki was not left unchecked. It is said that Hatake Bokuzan, a fellow companion and feudal lord from the East, had given this fallen warrior a funeral, and offered the Mikazuki to a temple called Kōyasan (高野山) located in Wakayama prefecture. Bokuzan did so as a means to wish him good fortune in the afterlife.

While it may be so that the Mikazuki was once kept in Kōyasan, there seems to be doubt as to who actually brought it there. You see, Bokuzan actually passed away in 1522, 5 years before Uchimitsu’s death in battle. Was there a miscalculation in the dates? Probably not. Is it possible that another member of the Hatake did this? Currently there is no evidence on other Hatake members being involved with this matter. What is accepted, however, is that this fine sword was later taken from Kōyasan by Toyotomi Hideyoshi, one of the few successful rulers to unify Japan during its warring period.

FROM ONE OWNER TO ANOTHER

From records found in the collection of  Hideyoshi’s wife, Kōdaiin (高台院)², is a written account about the Mikazuki. It is listed as a memento, as it appears she kept the Mikazuki, even after Hideyoshi’s death.  She even kept it after power of rule was taken by Tokugawa Ieyasu in the early 1600s, who established the centuries-long Tokugawa Shogunate. Kōdaiin lived until the age 78, and passed away in 1624.

Artwork of Kodaiin during her period as a Buddhist nun.

In the same year of Kodaiin’s death, this memento was inherited by Tokugawa Hidetada, the third son of Ieyasu who became the 2nd shogun in 1605. From here on, the Mikazuki is recorded as a sword part of the Tokugawa family’s collection. Talk about it can be found in the “Onkoshimono Motocho” (御腰物元帳), a document written in 1868 about swords collected and owned by the many Tokugawa shoguns. There are other documents that give details of how it was passed down within the Tokugawa family as a family heirloom.

The Mikazuki would remain in the Tokugawa family for many generations, even after the Tokugawa Shogunate was dissolved. The last member of this illustrious family to hold onto it was Tokugawa Iesato, who was a prince/duke at the time. In 1929, Iesato brought attention to this old relic when he had it put up for display at the Japan Renown Treasure Exhibition (日本名宝展覧会).

With attention brought back to the Mikazuki, people seek out to learn more about it. One of these happened to be Honma Junji, a respected researcher on ancient swords, was given the chance to inspect it sometime between 1930 and 1931. He He then wrote about it in a publication called “Kenzan Tōwa” (薫山刀話), giving the sword high praise in regards to its craftsmanship. In time, the Mikazuki was given a grade as an antique, being categorized as an ancient national treasure.

In 1945, the Mikazuki will leave the centuries-long possession of the Tokugawa family, and be passed around a few times in the hands of avid antique collectors. In 1992, it would make its new home at the Japan National Museum, where it is part of its vast collections of ancient and modern works of art. This is where the Mikazuki can be found today.

THEORY #2: ORIGIN THROUGH YAMANAKA YUKIMORI

The other supposed origin of the Mikazuki comes from the Chōkyō Meizukushi (長享銘尽), a document about particular swords that is estimated to have been written around 1488. In this, it is mentioned that a Yamanaka Yukimori (山中幸盛), a warrior from Sanin area of Central Japan, had initially possessed the Mikazuki. At this time, this sword had a mikazuki (crescent moon) motif, thus how it got its namesake.

Artwork of Yamanaka Yukimori from the ukiyoe series “One-Hundred Aspects of the Moon” (月百姿), entitled “Crescent Moon of Faith – Yukimori” (信仰の三日月 幸盛). By Tsukioka Yoshitoshi.

The issue with this theory is in regards to when Yukimori was alive. Records show that he was born in 1545, which is almost 60 years after the Chōkyō Meizukushi was written. Unless this said document was updated to include his data, this is a discrepancy which can debunk this theory. With this being said, it is not impossible for this to be the case; as with anything that is a form of records, it is not unusual for documents to get added information over the years,  in order to keep it up-to-date for the times. Speaking of records, Yukimori is quite a famous figure, as there are many tales and paintings that hail him with praise & merit. In fact, he is glorified based on a particular courageous last stand in Harima Province’s Kozuki castle against the mighty force of the invading Mōri clan in 1578, where he worked hard in assisting in the revival of his benefactor, the once-elite Amago clan. Before his inevitable fall, it is said that Yukimori went to Kōyasan, prayed before the Mikazuki that was kept there as he put his faith in the strength of the sword, then proceeded to take it with him⁵.

Was it truly the same “Mikazuki” in which this article is about? There is a possibility it is not, as it conflicts greatly with other official documents that state it was in the safekeeping of the Toyotomi family. On another note, “Mikazuki” is not an unusual title, so there is a high possibility that there were other swords that bore the same namesake, which could be the case for Yukimori.

Here’s some other key points regarding this version of the Mikazuki:

  • Measures at 2 shaku 2 sun 8 bu (about 60 cm)
  • It was nicknamed “Hangetsumaru” due to the unique hamon (pattern created along the blade) visible on it.
  • Part of its fittings included a handle wrap that had an elite family emblem called “kikukiri”
  • There are accounts of other swords that were owned by him, all about the size of a wakizashi. This includes one that had the length of 64 cm³, was crafted by Sukesada, a famous swordsmith⁴, and had a record of it being kept in the possession of Namazue Sakyou-no-suke.
An image of the kikukiri emblem.

With this, along with some other info related to Yamanaka Yukimori, the consensus about this version of the Mikazuki is that it most likely is not the same as the one that had its start with Hino Uchimitsu, if this one actually did exist.

ENDING

This article on Mikazuki comes to a close. A work of fine details and appealing design, the Mikazuki was not a weapon used on the battlefield, or much for combat for that matter. Instead, it was held as a trophy, and an item of status that significant individuals took pride in acquiring. Stay tuned for the next part of this series, which will feature the Juzumaru Tsunetsugu as the next sword from the Tenga Goken.

1) What is actually written is “Sanjō Kokaji”, but this is historically known to be tied to Munechika.

2) “Kōdaiin” is her Buddhist name, which was taken up after Hideyoshi passed away, and she established the temple Kōdaiji. Her other names prior to this included “Nene”, and “Toyotomi Yoshiko”.

3) In Japanese old measurements, 2 shaku 1 sun 2 bu

4) As a quick background reference, Sukesada is said to have come from Bizen no kuni (Bizen country), and learned to be a swordsmith under the Osafune. He made a name for himself as being very talented. However, there are many swords that have “Sukesada” engraved on the sword tang, indicating the name itself became a brand that others used. Due to this, it is tricky to credit him for all the swords that bear his signature.

5) This scene is often depicted as poetic, where Yukimori declares his faith to the moon in the sky. At this time, the phase of the moon is said to be that of a crescent moon. There are other artworks that show him doing so under the moon. However, it seems that him actually taking the Mikazuki Munechika from the temple at Kōyasan while performing this could have been an add-on to strengthen his connection with this sword.

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Tenga Goken: The 5 Great Swords of Japan ~ Part 2

The first sword we will cover in depth is the Onimaru Kunitsuna (鬼丸国綱). This sword was actually introduced in another article, entitled “Unique Swords with the Finest Edge“. Wielded by those of nobility and military status, it is portrayed as a mystical sword able to dispatch evil spirits, thus protecting its owner. Bearing such an illustrious profile, one would imagine it’s a true treasure with such power anyone would never bear to part from it. To be honest, this perception is not 100% accurate, for at a time the Onimaru Kunitsuna had a very negative reputation. Before we go into its rather rocky history, let’s examine this sword’s specifications.

Images of the blade of the Onimaru Kunitsuna. From Wikipedia.
  • Status: Imperial treasure
  • Blade length: 78.2 cm
  • Curvature: 3.2 cm
  • Maker: Kunitsuna

Out of the 5 swords, the Onimaru Kunitsuna is deemed a treasure of the Imperial Palace. This, however, does not mean it’s a national treasure, for it is rarely on display for public viewing, while few publishing have pictures of it. This may have to do with its rather complex history, and how it came to be included in the safekeeping of the Imperial Palace. Much of its extra-ordinary status comes from documents considered recordings of actual past events, like the novel-styled historical writings from the “Taiheiki” (太平記), and the Imperial logs of legendary and political matters from the “Gobutsu Chōsho” (御物調書). When reviewing the actual documents or sites that reference these same sources that pertain to the Onimaru Kunitsuna, you notice that much of it is unusually detailed dialogues and labeling just for a sword, which can range from its passing from one owner to another as a spoils of war, to reference during a simple evaluation by order of a government official. While I can’t say that all that’s written about the Onimaru Kunitsuna is factual or not, I will say that some of the info is a little over the top, and should be taken with a grain of salt.

BELOVED SWORD OF THE HŌJŌ CLAN

The origins of this sword is traced to around mid 1200s, during the Kamakura period. Hōjō Tokimasa, the 5th Regent who was in control of the government body known as Kamakura Bakufu, commissioned the swordsmith Awataguchi Kunitsuna to craft him a special sword. This was fulfilled, with the sword being called “Kunitsuna” based on the name signed on it.

An ukiyoe of Hōjō Tokimasa. From Wikipedia.

This sword would also gain an addition to its name, “Onimaru”¹, a little later. This came about when Tokimasa was tormented by nightmares caused by a demon while sleeping. As if willed by an unknown power from his keepsake sword, Tokimasa drew Kunitsuna out of its sheath and swung it down, cleaving off a part of the leg of his light stand that had the mark of a demon on it. From this, Tokimasa would give his sword the full title “Onimaru Kunitsuna”, as he believed it was good luck against mystical danger. Thus, it was a treasure of the Hōjō family for several generations.

However, this “good luck” of the Onimaru (title choice for remainder of article) was not witnessed again outside of the Hōjō household. This beloved sword was safely in the possession of this family up until the 14th successor Hōjō Takatoki, and after his passing, would later fall into the possession of Nagoe Takaie, who was the son of Hōjō Tokiie². It is said that in 1333, as many groups rose to oppose the Kamakura Bakufu rule controlled by the Hōjō clan, a particular rivalry between the Nagoe (Hōjō) clan and Akamatsu clan erupted, leading to skirmishes between both sides. The Hojo clan made an attempt to claim Yamazaki (present-day Ōyamazaki Town, Kyoto) from the Akamatsu clan. Takaie took part in this as he rode into the fray with the Onimaru at his side at Koganawate (present day Fushimi Ward, Kyoto City)³. However, he suffered the ill fate of being shot between the eyebrows by an arrow, dropping him dead in battle. Due to this tragedy, the Onimaru would later be returned back to his father Takatoki.

MISFORTUNES AS AN IMPLEMENT FOR WAR

A war commander by the name of Nitta Yoshisada would be next to gain possession of the Onimaru. This happened during an assault on Kamakura later in the same year, where it became evident that the might of the Hōjō clan was waning. Hōjō Kunitoki made an attempt to repel the assault, but things were looking grim on his side. At this time, he would have in his possession the Onimaru, and attempted to escape. However, he was caught by a subordinate of Nitta Yoshisada, assembled with other family members at a temple called Tōshōji, and was forced to commit suicide. Here is where the beloved sword would switch to the hands to Yoshisada. To claim such a treasure from a powerful family such as the Hōjō would mean good things to come…or so that was the thought.

An artwork entitled, “Nitta Yoshisada Ikuta no Mori no tatakai ni oite Koyamada Takaie Yoshisada no migawari to naru” (新田義貞生田林の戦に於て小山田高家義貞の身代りとなる). Depicting here is Nitta Yoshisada who is weilding the Onimaru Kunitsuna in a difficult battle. Created by Tsuchiya Koitsu. From Wikipedia.

We turn to the Ashikaga clan, who originally were supporters of the Hōjō clan, and rose in power by establishing their own military government in Kamakura by the new shogun Ashikaga Takauji. Not in agreement of the sudden change of power, Nitta Yoshisada opposed Ashikaga Takauji, resulting in them going to war. At first nothing impactful took place between the two sides, but soon Takauji would start to get the upper hand. In 1338, during the battle at Fujishima in Echizen Province, Yoshisada rode out into battle with the Onimaru and another sword known as the “Onikiri” (鬼切), attempting to prevail through his 2 auspicious swords. However, being caught by a rain of arrows from the enemy, he was shot dead as one of the arrows pierced between his eyebrows. Yet again, another display of the Onimaru providing no protection to those who attempt to wield it in physical battle

As the spoils of war, the Onimaru, along with the Onikiri, were taken by Shiba Takatsune, a commander who was in the service of the new shogun. Learning of the successful victory over Nitta Yoshisada and his army, Takauji sent a messenger to learn the whereabouts of the swords. When questioned by the messenger, Takatsune lied that both swords were kept in a training center, but was lost in a fire that erupted inside, destroying the building and everything inside. It would later be discovered that this was a lie, which Takauji lamented over this fact. Eventually, Takauji managed to secure the auspicious sword in his possession.

An interesting observation worth noting is that from this point on, the Onimaru will not be taken to the battlefield again, due to the misfortune of defeat and death that befell those thinking its surreal spiritual power would transfer to victorious physical strength⁴. Instead, it stayed as one of many valuable treasures within the position of the Ashikaga clan.

THE VALUABLE TREASURE MANY REFUSED TO TAKE IN

From here on forward, the Onimaru will pass through the hands of other prominent figures in Japan outside of being a spoils of war. This first takes place sometime around the late 1560s to early 1570s, when the 15th Ashikaga shogun Ashikaga Yoshiaki gave potential rival Oda Nobunaga the sword as a peace offering. In turn, Nobunaga gave it years later to his vassal, Toyotomi Hideyoshi⁵. By now, the Onimaru had a reputation of being a mystical blade that can eradicate evil spirits, but bearing the potential of bringing ill luck to those who wield it out on the battlefield. Taking an interesting turn by believing in the tales of its ability to ward away evil spirits, Hideyoshi had it evaluated by the Honami clan, and lent it to Honami Kōtoku for safe keeping.

The Onimaru stayed as part of the Toyotomi family’s collection for a few decades. However, this would change after their demise when they lost during a war on their home, Ōsaka castle, by Tokugawa Ieyasu and supporters from eastern Japan in mid 1615⁶. Ieyasu would seize control over Japan as the new shogun, and establish the Tokugawa Shogunate. As if following protocol, Kōtoku would give the sword to the new Shogun, as it now has a new owner. Despite receiving this great sword, Ieyasu decided to follow suite and pass it back to Kōtoku for continued safe keeping…possible due to suspicion of its “unlucky” reputation.

Artwork of Tokugawa Ieyasu, from the series “Mikawa Eiyuden” (三河英雄伝). By Utagawa Yoshitora. From Wikipedia.

In 1626, Ieyasu’s granddaughter, Tokugawa Masako, gave birth to the 2nd prince of the Imperial family, whose name was Sukehitoshinō. As she was be-wedded to Emperor Gomizunō and tied the Tokugawa family’s lineage to the Imperial line, this was an honorable occasion. As an offering, the Tokugawa family had the Onimaru delivered to the Imperial family, as a sign of their connecting with the newborn prince. Unfortunately, Sukehitoshinō would suddenly pass away in 1628, after his 3rd birthday⁷. The cause of death was thought to have been due to the “unlucky” sword, thus having it returned back to The Honami clan for safe keeping yet again.

The Onimaru remained in the care of the Honami clan for some time. They were also rewarded for their dedicated service at some point, as the sword was maintained in exceptional condition. However, after being unclaimed for a few centuries, the faith of the Onimaru would finally be decided in 1867, with rule over Japan being restored to the Imperial line after the fall of the Tokugawa Shogunate. With this change in power, the sword was no longer an item of the Tokugawa family, but instead recognized as an Imperial treasure. It would then be added into the collection of the Emperor and the Imperial Palace in 1881, after the Honami clan fell into a decline in a successor to properly fulfill the job of sword care & evaluations. This is how the extraordinary sword known as Onimaru Kunitsuna would find its last home, and remain as part of the Imperial collection to this day.

ENDING

We close this article on the 1st sword out of the Tenga Goken, Onimaru Kunitsuna. Bearing the reputation of its spiritual powers to eradicate evil spirits, it received quite a reputation during a time where many were superstitious. On the flip side, it was also deemed bad luck, which stemmed from providing no protection against physical dangers, to bringing untimely death. Are all these tales about the Onimaru Kunitsuna warrant? It’s impossible to get full clarity, but it does indeed make for an interesting tale. Stay tuned part 3, which will cover the the next sword known as Juzumaru Tsunesugu.

1) This is also the shorthand name for the sword

2) The Nagoe clan was a related branch of the Hōjō line

3) This particular clash is properly know as Koganawate no Gassen (Battle at Koganawate)

4) It is rumored that the 13th shogun Ashikaga Yoshiteru (1536~1565), a skilled swordsman, wielded the Onimaru against overwhelming odds at Nijō Gojo in Kyoto. This is a statement without a reliable source, so can’t say that this is true.

5) Toyotomi Hideyoshi is the name he’s most recognized by after he became shogun of Japan in late 1500s. While he was serving under Oda Nobunaga, he went by a different name, which was Hashiba Hideyoshi.

6) This war is known as “Ōsaka no Jin” (Siege of Ōsaka), which was a 2-part assault with the 1st taking place in the winter of 1614, then the 2nd in the summer of 1615.

7) This is based on the traditional age calculating method primarily used in Eastern Asian, where a newborn baby is considered one year old, then gets one more year added after the New Year.

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Rōdanshū: Evaluating the ninjutsu scroll from Sengoku period

Over the years I’ve reviewed several old works that are accredited to one of Japan’s famous historical strategists, Yamamoto Kansuke. Employed under one of Japanese history’s most decorated warlords, Takeda Shingen, Kansuke is recorded as contributing much to the advancement of the Takeda army’s military career, both on and off the battlefield. There are many documents that given recognition to him, some of which have already been covered on this blog site. For today’s article, we will look over yet another one of these documents, which is known as “Rōdanshū”.

IDENTIFYING A SCROLL ON WAR-TIME NINJUTSU

The title Rōdanshū (老談集)¹ can be loosely translated as “A Collection of Conversations from the Experienced”. It is arguably labeled as a ninjutsu scroll, one that is related to a division of the Takeda army that specialized in scouting & shinobi-like activities that is dubbed “Kōyō ryū” (甲陽流), which Kansuke is lauded as contributing to. This is also usually regarded as a “picture scroll”, for it contains many illustrations of different, somewhat exotic, tools that ninja are said to have used as early as the Sengoku period. However, it actually has a 2nd section with no pictures, but instead contains instructions on important skills for those who are active on the field, possibly while doing scouting work.

Rōdanshū illustrations 1
Rōdanshū illustrations 2
Images of a few illustrations found in the Rōdanshū. To the right are various ropes and hooks that appear to have been used in a form of pulley system. To the right are a collapsible boat (right), a type of shield used while on horseback (center) and a boat with a flaming source in the middle (left).

As a whole, the illustrations found in the Rōdanshū aren’t what one would expect from a ninjutsu scroll; instead of the more stereotypical weapons and items that are iconic to those who would be called a ninja, we see many items that appear to be gear and tools one would use during non-combative scenarios. For example, there is a garment worn around the torso called koshi-ate (腰当て), a type of lantern carried while on horseback, a flotation device using a spear called ukibashi (浮き橋), and a collapsible boat, to name a few. Of course, they don’t appear to be standard items just anyone would use both in design and in the instructions given (which is not included for many), giving the idea that these tools present in the scroll are unique for ninja use. On top of this, the Rōdanshū gives us an idea of what a ninja would actually use during a warring period if their job was to spy on the enemy or evaluate an area.

The written section of the Rōdanshū further supports the idea stated above as it goes over instructions on what a ninja should in relations to certain activities while out in the field. No information about stealth techniques, but instead how-to descriptions regarding certain items that would help for survival, operating in the dark, choosing essential gear for a horse, and so on. With careful evaluation, one can understand that the contents of the Rōdanshū are indeed a representation of the ideology for engaging in scouting and shinobi activities used by the Takeda military, and that they appear to have been put into practice for quite some time.

Rōdanshū written 1
Rōdanshū written 2
Examples from the written section of the Rōdanshū. To the left are the different torches and their ingredients. To the right are instructions regarding horses

UNDERSTANDING THE WRITTEN LESSONS

I’ve taken the time to read and research the contents located in the written section of the scroll. Below I will provide some transliteration of each of the topics presented, as well as a concise summary of what is being discussed.

Hyōrōgan (兵狼丸)
Energy pills that were carried during field work. Only one type is mentioned here, along with its ingredients, such as urukome (ウル米, type of sticky rice), yokunin (よくにん, coix seeds), and kōri zatō (氷砂糖, rock candy). Interesting, there’s a not about it being okay to feed your horse this alongside with water.

Imagawa-dono no Akagusuri (今川殿赤藥)
A red-colored medicine that is accredited to Imagawa Ujizane (今川氏真), a warlord who occupied Suruga Province (駿河の国, present day central Shizuoka Prefecture). Used to relieve stomach ache. Note that in different, yet relatable sources, there are varying thoughts about whether this was designed only for human consumption, or if this can also be fed to one’s horse.

Taimatsu (明松)
A torch that uses a bamboo as a tube and kindling. Ingredients include matsubikiko (松引粉, grounded pine), hai (灰, ash), and azukiko (小豆粉, red bean powder). This is also called arimatsu (有松).

Mizu tsuimatsu (水續松)
A type of torch-like instrument used on the water. This is possible due to oil being one of its ingredients, to keep the flame going in case it gets wet.

Kusa musubi no hi (草結ノ火)
This is similar to the taimatsu mentioned above, but is a lighting instrument used while in a boat. By design, it is supposed to be resilient to bad weather conditions, and stay lit even against strong winds.

Dōmei (同銘)
A type of metallic device that can be used with either water or fire for various purposes.

Ōhikaribi (大光火)
A type of fire device used by armies at night. One of the main ingredients is the konara no ki (コナラの木), a type of East Asian oak tree identified as “Quercus serrata” in English. There are metal fixtures fastened to it.

Dō no hi (胴ノ火)
A body warming device that, once lit, will retain heat up to 12 hours. Used especially during operations in cold conditions.

Ukigutsu tōyu no koshiraeyō (浮沓 唐油ノ拵樣)
A type of footwear used for crossing water. Apparently it helps with not sinking if used with a specialized oil.

Fune no tōyu (舩の唐油)
Using specific ingredients included with a unique oil, you can easily drag a boat onto land.

Yoruuchi no Tsuimatsu nagebi no koto (夜討ノ續松投火の事)
A type of device that is thrown at an enemy’s camp or such to cause a fire during night raids.

Bagu no koto (馬具之事)
This covers certain points regarding gear used by horses. Some of these points include:

  • How to tether a horse while it’s drinking water
  • Thickness of the pad underneath the saddle
  • Type of saddle accessories that’ll keep a horse warm during cold periods

Uma no koto (馬之事)
Instructions concerning horses, it goes into details regarding which types of horses are essential in specific situations. This includes:

  • Crossing rivers
  • Dismounting
  • Keeping the horse’s mane in check

Umanori yō no kuden (馬乗り樣之口傳)
Advice and lessons regarding horseback riding. This is pretty extensive, as it references scenarios that include:

  • While wearing armor
  • When needing to lay low in a river while on horseback
  • How to stay quiet while approaching a town

ADDRESSING THE INCONSISTENCIES

Now, to talk about some odd points regarding the Rōdanshū. The knowledge found in this scroll is credited to Yamamoto Kansuke, but the one to actually write the scroll is a Baba Nobuharu (馬場信春), one of Takeda Shingen’s loyal retainers. Nobuharu is recorded as a specialized field agent performing shinobi-like duties, so it would make sense that he would have a deep connection to the contents of this scroll. Interestingly, his signature, where he uses his official title of “Baba Mino-no-mori” (馬場美濃守), is in the back of the Rōdanshū, and not Yamamoto Kansuke’s. Did Kansuke actually give important input for this scroll?

Image of part of the signature page. Here we see ① the signature of Baba Mino-no-mori ② a date of 1827 (嘉永7年) ③ and a recipient name being Matsubara Yukie (松原靭負).

Speaking of signatures, there is usually a date and the name of a recipient along with the signature of the one issuing such scroll. This is where things become very inconsistent. For starters, the date in the Rōdanshū referenced in this article is 1827, or the 7th year of the Kaei era (嘉永七年) in older Japanese time keeping. In yet another version that I have, the date is different in that one, where it reads as 1845, or 2nd year of the Kōka era (弘化二年). On top of this, the signatures vary greatly, with the one reviewed here having several, including 2 names of individuals who have received this very scroll at 2 different time periods. Yet, in the other version, there is only one recipient signature. Why is this? What about an original copy?

One thing that needs to be understood is that, from what I am able to gather, there are many copies of the original Rōdanshū. It seems like during the 1800s this was passed down to different people in varying years. While the details of this is unknown, we can play with the idea that the Rōdanshū isn’t an antique relic, but was still in use way after the Sengoku period. This isn’t an unusual practice, to be honest, as some older documents were circulated as “living lessons” during the Edo period. This doesn’t invalidate it as being “authentic”, as long as its core lessons weren’t changed. Nowadays, it is not unusual to see some versions of the Rōdanshū kept in museums, while copies of others being sold in auctions in Japan. As for the original, there are no details regarding this.

ENDING

This concludes our review of the ninjutsu scroll called Rōdanshū. Out of the many documentations I’ve reviewed, I must admit that this gives a more realistic perspective of the tasks a ninja would have while on the field during medieval Japan’s warring times, and the tools they would’ve needed to utilize. It is very utilitarian, creative, and not heavy on the combative side. Yamamoto Kansuke is said to have learned many aspects of military practices, including ninjutsu. If this is truly the case and his knowledge was incorporated into the Rōdanshū, then the fame he gets is well-earned.

1) Based on the version, the title could be much longer. The one being reviewed here has the full title of “Kōshū ryū Ninpō Hiden Rōdanshū” (甲州流忍法秘伝老談集).

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Unique Swords with the Finest Edge

In a previous set of 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 section for the Shinkage ryū scroll known as “mokuroku”. Here, instructions on kenjutsu is given with the use of an illustration consisting of a tengu. From Wikipedia.

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.

Pic of Ittōseki. From Photo-AC.com

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.

An example of a sword kept in a simple shirasaya, which is meant for storage especially during the cold season.

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 with 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.

An example of a sake daru (酒樽), a barrel used for storing rice wine at a shrine. From Photo-AC.com.

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.

An ukiyoe of Hōjō Tokimasa. From Wikipedia.

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.

An image of the face of an oni, or demon. From AC-illust.com.

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.

ENDING

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.

1) These articles can be read here and here.

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.

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Evaluating Manuscripts of Takeda Army Strategist Yamamoto Kansuke

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.

Pic of the book “Yamamoto Kansuke “Heihō Hidensho””, with box cover (left) and front page (right).

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.

Pic of the book “Zusetsu – Kobudōshi”, with box cover (left) and front page (right).

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:

A glance at the table of context from each booth, with the Gunpō Hyōhōki to the left, and the Heihō Hidensho to the right

Heihō Hidensho: Mokuroku

  1. Fighting forms (形勢, Keisei)
  2. Method of hand-to-hand fighting(拳法, Kenpō)
  3. Method of sword fighting (剣法, Kenpō)
  4. Method of staff fighting (棍法, Konpō)
  5. Long-range weapons – naginata, yari (長道具ー鎗、長刀, Nagadōgu – naginata, yari)
  6. Method of archery  (弓法, Kyūhō)
  7. Firearms (鐵袍, Teppō)³　

Gunpō Hyōhōki Kenjutsu no maki

  1. Three points regarding kenjutsu (劔術三ツの要といふ事)
  2. Postures with 3 height levels when wielding the sword (上中下段かまいの太刀)
  3. Postures with the sword against unexpected encounters (りんきおうへんかまいの太刀
  4. Forms for utilizing dual swords (両刀をつかふの形)
  5. Forms regarding battles between swords and spears (鎗刀戦いかまいの形)
  6. 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.

Hand-to-hand techniques as shown in the Heihō Hidensho.

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
Hidari naka mae kensei
Hidari shita musubi ato kensei

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:

Hira jōgo kensei


ORIG: 敵より先に践込みて己を撃とせば其太刀の出るをよく見て左の身足を引て敵の撃出す手をうつべし

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)
  • Yōgan (陽眼)
  • Ingan (陰眼)
  • Murakumo (村雲)
  • Yamatsuki (山月)
  • 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.

ANALYSIS

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.

  1. 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.
  2. 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.

CONCLUSION

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.

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Kuroda Bushi: Story of the Sake-Guzzler named Mori Tomonobu

There are amazing tales of warriors accomplishing all types of great feats. Oftentimes in old Japanese tales, these individuals are painted with words that put them on the level of being super-human. This can range from having super strength, impeccable intelligence, and unmatched wit. How about we add voracious consumption of alcohol to that list?

In my 2-part series “Fame to the Spear”, I mentioned about a famous tale that told how a loyal retainer was able to drink his way to obtained a treasured Imperial spear. For this article, we’ll look into the details of this story, which is called “Kuroda Bushi” (黒田節, Song of Kuroda). Along with this, we’ll review where & when it was created, and the lasting appeal it has in the locations associated with the writer and members in the tale. There are different versions of this story, each with slight variations in how it is told and how it progresses. Some versions have more details than the other, while some have dialogue to illustrate how each characters interact with one another. The following sites are but some of the sources used as guides in writing this article:

THE FULL STORY

Artwork of Mori Tomonori. From Wikipedia.

The protagonist of this story is Mori Tomonobu (母里友信)¹, who is known as an accomplished warrior with the spear, and a retainer of the Kuroda family. He goes by other titles, including “Tahei” (太兵衛), “Tahyōe” (多兵衛), and the official title of “Tajima-no-kami” (但馬守). Among those who served the Kuroda clan, he was a skilled warrior especially with the spear, and was a member of both “Kuroda Nijuuyonki” (黒田二十四駒, 24 Cavalrymen of the Kuroda clan) and “Kuroda Hakko” (黒田八虎, 8 Tigers of the Kuroda clan) due to his loyalty and military service. Tomonobu also has a reputation for being a “sake-gō” (酒豪), which we’ll interpret as “sake guzzler”.

The story takes place around the New Year period of 1569. Mori Tomonobu was about to embark on an errand for his lord, Kuroda Nagamasa, to the lower town of Fushimi castle in the Capital (京, which is Kyōto in present-day Japan). This area was under the control of Fukushima Masanori, who was the feudal lord there. Aware of who he may run into, Nagamasa forbade him consume any alcohol while there, stating, “you must not accept any sake he offers, no matter what!”. Obediently, Tomonobu, promised not to drink any sake while out on his errand.

When Tomonobu arrived, Masanori was brought word of this guest to his town. Wasting no time, Masanori hurried to go see Tomonobu. When He found him, Masanori invited him to his drinking party, so they may celebrate with a couple of rounds of drinks. Remembering what his lord told him, Tomonobu humbly refused. Masanori made a few more attempts to invite the reluctant warrior, which finally he would accept.

Artwork of Fukushima Masanori. From Wikipedia.

Now, why would a person in Masanori’s position go out to get a lower-ranking warrior like Tomonobu to attend his drinking party? For starters, this invite was nothing special for Masanori. In fact, it was just another excuse for him to drink himself drunk. While bearing merits due to the great feats he’s achieved in battle, he also had a reputation for liking to drink sake a little too much. In fact, it wasn’t unusual for him to report to duty on the field while being drunk! On top of this, Masanori was also aware of Tomonobu’s reputation of being able to consume a lot of sake himself and not get drunk. You can say that this was Masanori’s chance to test if this rumor was true.

Back to the story, Masanori led Tomonobu to his residence, and lead him to a room that was adorned with many nice items, and a table that would be used for the sake party. As his guest sat down and got settled in, Masanori brought forth a very large bowl of sake to kick off their drinking fest, stating, “here, drink this”. Still on duty and concerned about the impact such an amount of sake would have on him, Tomonobu refused. He would try to entice the invite with a wager, offering to grant him anything he wanted in his room if he could consume all the sake in the large bowl. While there were some nice items around the room, as expected by someone of Masanori’s status, Tomonobu once more declined to consume the entire content within the large bowl.

At this point, Masanori was getting annoyed with Tomonobu’s constant declination, as he proceeded to taunt the Kuroda retainer by saying, “What?!? As a warrior of the Kuroda house, you are so disappointing! Even if you, a member of the Mori clan, do hold the reputation as “sake-guzzler”, you certainly have no backbone to back it up. Pity goes to Lord Nagamasa for having a bunch of wimps under his command, for he runs nothing more than a province of weaklings!²“. These words got to Tomonobu and made him very furious. Taking the large bowl, he drank everything straight down. Putting the bowl down, he exclaimed “I’ll have another”. Refilled with sake, he would proceed to drink everything again. He repeated this a few more times, consuming more than anyone could’ve imagined. Finished, Tomonobu maintained is composure as he politely commented “I will now claim my prize in accordance to your promise, which will be that spear over there”. He pointed to a large spear, lacquered in black, and boosting a grand spearhead with exquisite carvings.

A snapshot of the Nihongō’s blade (replica) on Nagoya Touken World website.

This was no ordinary spear, as it was a treasured property that passed through the hands of famous people; commissioned by the 106th Emperor Ōgimachi, it would be rewarded to great military commanders, from the 15th Shogun Ashikaga Yoshiaki, to the ambitious rulers Oda Nobunaga and Toyotomi Hideyoshi. Masanori was rewarded this spear by his master Hideyoshi after achieving great feats in battle³, and he treasures this greatly. This is none other than the legendary Nihongō⁴, and it was about to be lost due to a silly drinking bet.

While drunk himself, Masanori was fully aware of what was in stake with his treasured spear. He initially tried to protest, pleading how special the spear was in his possession, but Tomonobu refused to listen, and remain steadfast on acquiring the Nihongō, stating, “a warrior does not repeat himself⁵”. Aware that he cannot go against his word, Masanori complied and handed over the spear. With that, Tomonobu made his way out and headed on his way with his trophy, not showing any signs of being intoxicated.

Oh, so many days Masanari lamented as he longed for that treasured spear lost in a drinking contest!

HOMETOWN PRIDE VS ORIGIN PRIDE

A statue in Fukuoka of Mori Tomonobu carrying both a large sake bowl and the Imperial spear known as Nihongo. From Wikipedia.

Today, the Kuroda Bushi is known as a folklore song of Fukuoka prefecture, where Mori Tomonobu’s grave is. This version is very popular there, as it is represented in businesses (especially sake distributors) and entertainment (i.e. singers and theatrical performers). It grew in popularity thanks to how the actual episode became known in the first place. Mid to late 1600s of Edo period, feudal lords who stayed in the lower town of Fushimi castle spoke freely about the sake party that Fukushima Masanori held and how it brought the lost of his prized spear to the hands of the Kuroda retainer Mori Tomonobu.

Eventually, this tale would reach the ears of a Confucius scholar named Kaibara Ekiken, who was a native of modern-day Fukuoka prefecture. Since the Kuroda family were from Fukuoka prefecture, Ekiken saw value in this story and made it into a song called “Kuroda Bushi”. In the form of a song, it spread throughout Japan, and would eventually be associated with Fukuoka prefecture. This song, along with other tales & info regarding those affiliated with the Kuroda family, was compiled by Ekiken into a collection labeled “Kuroda Kashinden” (黒田家臣伝). This also goes hand-in-hand with the Nihongō being retrieved and placed in a museum in Fukuoka as well. With the reputation as being the birthplace of the once influential Kuroda family, there’s no mistake that the residence in Fukuoka would find it necessary to keep the Kuroda Bushi and Nihongō close to home.

Despite its obvious connections with Fukuoka prefecture, the Kuroda Bushi is also just as important in Kyōto. In fact, the actual location in present-day Fushimi District where the tale took place is a tourist attraction, which is advertised as “”Kuroda Bushi”, Tanjō no Chi” (黒田節、誕生の地), or “Birthplace of the song “Kuroda Bushi””. Historically, Kuroda Nagamasa, Mori Tomonobu’s lord, had good relations with Fukushima Masanori. Interestingly, it is rumored that Nagamasa had a house in north-eastern part of Fukushi castle’s lower town, which is where he would pass away. While possible considering the importance of Kyōto during medieval Japan, it has yet to be proven.

Drawings of the working process at a sake brewery using a method called “Tenbin shibori” (天秤しぼり), which dates back to Edo period. From “Nihon Sankai Meisan Zue” (日本山海名産図会), Vol. 1. By Shitomi Kangetsu.

Another point to mention is the strong association to sake the area of Fushimi has. During the early mid 1600s, the Tokugawa Shogunate was well established, major wars were over, and a movement of development was underway. The town in Fushimi was developing into a hub for business endeavors, as it was close to a port where many traders used. At this point, a sake brewing business was started, and became very successful. While this was not the 1st sake brewery, it did contribute to Kyōto’s long history of sake manufacturing. Thus, the episode of sake drinking in the Kuroda Bushi is synonymous with not just Fushimi, but Kyōto as a whole.

ENDING

This brings the story of the Kuroda Bushi to a close. It is an interesting tale, one that illustrates a different form of battle & wit⁶. Who’d guess that having an insatiable gut for alcohol like Mori Tomonobu would net a hometown folklore? Also, be on the lookout for a full translation of the Kuroda Bushi as displayed in Kyōto. This will be posted in the Translation section of this site.

1) Originally, the surname “Mori” (母里) was pronounce as “Bori”. Later in the Edo period, this name was not only phonetically changed in official documents of the Tokugawa Shogunate to “Mori”, but the kanji was also changed to a more familiar “毛利”. This may have been done to make it easier to identify the Bori clan. Nowadays, it is common to read the original name as “Mori”, but in Fukuoka prefecture, as well as in the documents of the Kuroda family, it is still read as “Bori”.

2) The actual line in Japanese: “なんだ、酒豪だと言われる母里でさえ、このくらいの酒を飲む自信がないとは黒田家の侍もたいしたことないな、腰抜け揃いの弱虫藩か長政殿もお気の毒に”

3) Fukushima Masanori’s great feat was discussed here

4) This was discussed in details here. On a side note, this event also dubbed the spear “Nomitori Nihongō” (呑み取り日本号, Nihongō the drinking contest prize).

5) The actual line in Japanese: “武士に二言は無い”

6) Did this story really conclude with a happy ending? Sort of, but depends from which perspective you view it from. It’s said that after the event, Fukushima Masamori made many pleas to Kuroda Nagamasa to have Mori Tomonobu return the Nihongō, including offering an exchange with a replica spear. To maintain the peace, Nagamasa also tried his best to resolve the matter by advising his retainer to comply, but Tomonobu held steadfast to the validity to the promise made at the sake party, and refused. This would sour relations between Masamori and Nagamasa for awhile, until another feudal lord named Takenaka Shigetoshi intervened. Watching how bad they interacted with one another from the sideline, Shigetoshi stepped in and resolved the matter by having them make up through an exchange of kabuto (兜, helmet).

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Fame to the Spear ~ Part 2: Tenka Sanmeisō

In part 2 of this series on popular stories & events highlighting the yari (aka Japanese spear), we go in the direction of legends. Japan has had its fair share of people, places, animals, nature, and things elevated to a level beyond normal existence. There are several cases like this involving the yari, especially the one called “Amenonuhoko” (天沼矛), which was used by the deity Izanagi-no-mikoto (伊邪那岐命) to create Japan and the world in old Japanese mythology. These objects of legends were first passed down from word of mouth, then to being jotted down in documentations, to now being depicted in pop culture such as video games and dramas.

For this article, we will look at three special yari that are labeled as “Tenka Sanmeisō” (天下三名槍), or “Three Great Spears of Japan” in English¹. Being real spears, we’ll cover when each was created, which individuals were lucky to be the owner, and whether they survived into modern times or not. Along with this, small but unique details that add to these yari being a cut above the rest will also be covered. Resources used to write this include the following:

NIHONGŌ, THE IMPERIAL SPEAR

The 1st of these legendary spears is known as the Nihongō (日本号)², believed to have been made during the Muromachi period (1336 ~ 1573). A large yari featuring a long blade with an engraving of a Buddhist depiction of a Kurikara dragon wrapping around a sword at the base. It also boosts a lacquered wooden shaft, and is well adorned with fine fittings. By design, it is considered an exquisite weapon designed as a treasured weapon of the Imperial family. Originally it was just known as an Imperial spear. It was later that when it passed into the possession of Toyotomi Hideyoshi, that he would give it the name “Nihongō”. This name can be interpreted as “No. 1 spear of Japan”.

A snapshot of the Nihongō’s blade (replica) on Nagoya Touken World website.

Here are its known dimensions:

  • Blade length = 79.2 cm
  • Spear weight = 912 g

It was considered the finest yari in existence that it was given the rank “Shōsani” (正三位), which is an official Senior Third Rank of the Imperial Court. Bearing such status, it is no wonder that it was recorded to having been passed down through the hands of individuals of high rank. The order goes as the following below.

The 106th Emperor Ōgimachi (1517 ~ 1593) is considered to have been the first owner of the Nihongō. He would at some point bestow it upon Ashikaga Yoshiaki, the 15th Shogun of the Muromachi period. For awhile it remained in the possession of Yoshiaki until he formed a working relationship with Oda Nobunaga around 1570. Being around the time when Nobunaga was rising in power, some sources say that once he learned about the spear’s origin being a treasured weapon from the Imperial Palace, he demanded it from Yoshiaki to the point where they almost went to war just for the sake of it. Other sources say that it was a peaceful exchange between the two. In any event, Nobunaga would successful claim the Nihongō. At some point, this yari was passed into the hands of Toyotomi Hideyoshi, Oda Nobunaga’s successor. Finally, possibly after his impressive service on the battlefield, Fukushima Masanori, a retainer of the Toyotomi clan³, was rewarded the Nihongō from Hideyoshi.

Artwork of Mori Tomonobu. From Wikipedia.

From this point comes interesting stories that illustrate the Nihongō’s whereabouts later down the generations. First is a tale about how Masanori would lose it to Mori Tomonobu (母里友信), a retainer of the Kuroda clan, in a drinking game. From there, it would remain in the Mori family line for several generations. Between 1800s to 1900s, it would once again get passed into different hands, but in the most peculiar ways. In one instance, an individual was able to purchase it for 1,000 yen (almost 9 dollars). Later, it would once again be bought, but this time for 10,000 yen (almost 100 dollars). It would eventually be acquired by a descendant of the Kuroda family in around 1920s. Finally, a museum in Fukuoka prefecture would acquire the Nihongō, where it is said to be til this day.

In honor of this Imperial spear, many smiths made attempts to recreate the Nihongō. Not just the blade itself, but its decorative fittings as well.

OTEGINE, THE MALLET SPEAR

The next spear is an interesting one, both in name, design, and origin. It is called “Otegine” (御手杵). This name means “Tapering Mallet”. It was created during the Muromachi period by Gojō Yoshisuke (五条善助), who belonged to a well known sword smith in Shimadashi, Suruga Province. It was made at the request of Yūki Harusaki, lord of Yūki castle in Shimōsa Province. Harusaki would keep its splendor alive through his foster child, Yūki Hideyasu. He in turn would then pass it down to his 5th son, Naomoto, who at one point also inherited the Yūki surname. One thing to note is that Hideyasu was originally from the Matsudaira clan, but was adopted into the Yūki clan at a young age. Due to the ties, the Otegine would be associated with both families, as it would be passed down to a few members of the Matsudaira family in later years as well.

Two pictures, with a clear view of a replica Otegine and its shaft on the left. To the right, the blade of the replica Otegine placed on a stand next to its mallet-shaped sheath. From Wikipedia.

Out of the 3 legendary yari, the Otegine is known to be not only the longest, but also the heaviest. The blade itself was a sight to see, as the blade was long and triangular design, and featured a rather deep groove that ran up through the center. It also featured an even longer tang, which made it solidly reinforced when fitted into the shaft, and allowed the user to perform sweeping cuts along with thrusts.

Here are its known dimensions:

  • Blade length = 138 cm
  • Tang = 215 cm
  • Shaft length = 215 cm

The name “Otegine” comes from the very unique sheath it is paired with. Originally, when Harusaki had the spear created, it came with a sheath that was wider at both ends, and tapers towards the middle. This shape resembled a type of mallet or pestle used for pounding mochi (餅, rice cake), thus the unique name given to the spear. At some point, Harusaki had a fur covered mallet-shaped sheath devised. This is for decorative purposes.

An example of a tapering mallet. From Wikipedia.

While its blade was tempered extremely well and has potential of being effective on the battlefield, its sheer size and weight made too cumbersome to be used proficiently. While it may not had seen use in actual warfare, the Otegine was symbolic and showed one’s status when heading to the battlefield. It is said that it would often be brought from the Yūki castle to the commander’s camp and used like an umajirushi (馬印, banner carried next to a commander’s horse) right before going into battle. There were even occasions during 1635 when Tokugawa Iemitsu, the the 3rd Shogun of the Tokugawa Bakufu, had the Otegina brought out and used as a symbolic lead during official processions by those of the Yūki clan and Matsudaira clan to Edo (present-day Tokyo). Note that carrying the Otegine was no easy feat, with or without its furry sheath, as its sheer weight was overbearing to be carried by just one person over long distances.

The Otegine’s last whereabouts was in the possession of the Matsudaira family, but tragedy would struck in an unexpected way. This spear was destroyed by fire bombings during WWII. Although it was stored away in a special containment, the heat from the fire caused by the bombings would melt the steel spear blade, and burn the shaft to a crisp. Unfortunately, this state left it impossible to repair. On a positive note, replicas were made of the Otegine in the early 21st century, and are up for display at several museums, including the Yūki Kurabikan (Yūki Collection Gallery) in Yūki City, Ibaraki Prefecture, and Kawagoe-shiritsu Hakubutsuken (Kawagoe City Museum) in Kawagoe City, Saitama Prefecture.

TONBOKIRI, THE DRAGONFLY SLAYER

The 3rd treasured yari is known as “Tonbokiri” (蜻蛉切り). Out of the three spears, this one is renown for its overall performance on the battlefield. Of course, credit also goes to the one who was wielding it as well — Honda Tadakatsu (本田忠勝).

Ukiyoe of Honda Tadakatsu with Tonbokiri in hand called “Honda Tadakatsu Komakiyama Gunkōzu” (本多忠勝小牧山軍功図, Honda Tadakatsu at Battle of Komaki Mountain”. The work of Mizuno Toshikata.

In the Muromachi period, The Tonbokiri was crafted by Fujiwara Masazane, a swordmaker from the Muramasa smith in Ise Province. It is a large spear, designed in the fashion of a “ōsasahoyari” (大笹穂槍), or “spear with a large bamboo grass-shaped blade”. On this blade are engraved 3 bonji (梵字, sanskrit symbols) above what looks to be a vajra-like sword engraving. From top to bottom, here’s what each symbolize⁴:

  • Jizō Bōsatsu, guardian Buddha of children and travelers, and deity known to be compassion for those suffering
  • Amida Nyōrai, Buddha recognized for infinite light and life
  • Kannon Bōsatsu, Buddha of compassion for others

It features the following known dimensions:

  • Blade length = 43.7 cm
  • Tang = 55.6 cm
  • Shaft = 4.5 m

Take note that the Tonbokiri was not the longest spear by the standard followed during Sengoku period. When this yari was crafted, Tadakatsu was already up in years. Apparently he found wielding the average length yari abit cumbersome, so he intentionally had the Tonbokiri’s shaft shorten by around 90 cm.

The name Tonbokiri means “Dragonfly Slayer”. This is because the blade of this yari is said to be so sharp that a struck dragonfly would be severed into 2. To top this, it’s said that even if this spear were not moving, a dragonfly that perches onto the tip of the blade would also be divided into 2. These claims elevate the Tonbokiri as a devastating weapon, even if they can’t be taken literally.

As mentioned earlier, the owner of the Tonbokiri was Honda Tadakatsu, who himself was a legend in his own rights. Tadakatsu was one of Tokugawa Ieyasu’s most trusted and loyal vassals during Sengoku period. A large man in stature since his youth, it is said he was a force to be reckoned with in skirmishes, as he participated in as many as 57 battles during his lifetime, and never sustained any damage. For his service, Tadakatsu was among Ieyasu’s top 16 generals, and was named one of the “4 Heavenly Kings⁵”.

While it’s not recorded that Tadakatsu’s successful career was all thanks to Tonbokiri, there is little argument that he did take it to battle. In historical records, along with Tadakatsu’s achievements due to his undying loyalty to Tokugawa Ieyasu, his prowess with the yari was noted. After his death, this yari was passed down his family line to his descendants for several generations. Today, it is in the safe keeping of a museum in Shizuoka, Japan.

THREE FAMOUS SPEARS: FUN FACTS

A good amount of info regarding the Tenka Sanmeisō was provided above. However, it’s not quite over as there are plenty more tidbits and rumors regarding the 3 yari. Below are lists of extra info for each yari.

Banner on Nagoya Touken World website promoting the project of replicating the Tenka Sanmeisou. Here, we get a clear idea of the details on these spear blades.

General

  • All 3 yari are considered ōmi yari (大身槍). What this means is that these are in a class of very long spears, especially with the blades they are outfitted with.
  • Originally, just the Nihongō and the Otegine were considered treasured spears. There was a comparison between the two based on the geographical significance of Japan predating modern times. The Nihongō was called the “great spear of western Japan” due to originating there, while the Otegine was the “great spear of eastern Japan” for the same reason.

Nihongō

  • The tang of this spear blade was unsigned. Speculations are that the spear was of the Kanabō style (金房派) of Yamato Province, but this has not been proven yet.
  • Despite its grand image, the Nihongō was not used in battle. There is one rumor that it was taken overseas during the invasion of Korea in 1592 by Mori Tomonobu, where it survived fierce battles. Unfortunately, there is no solid evidence to verify this.

Otegine

  • In the Matsudaira family, there are 2 legends about the Otegine. The 1st stating that when the sheath is removed, snow flakes fall down, while the 2nd is it will rain when it is leading a procession to Edo. There is no particular meaning behind these, but adds more sentimental feelings to the splendor of this yari.
  • Speaking of rain, it is said that the sheath’s fur absorbs water when it rains, adding more than 50% of it natural weight. Those who have to carry it during a procession on a rainy day had a lot of work on their hands.

Tonbokiri

  • What adds to the praise given to Tonbokiri is where it originated from. Mikawa is known to be home of a group of smiths labeled “Mikawa Monju” (三河文殊). Mikawa prefecture is known for many weapons being produced there, which many important people sent commissions to, including Tokugawa Ieyasu. These smiths were liken to miracle workers, as their products were rumored to perform better…as if they were magical. Since the Tonbokiri was crafted by a smith who is part of the Muramasa line, this was a major selling point.
  • It is said that Honda Tadakatsu had another spear commissioned, and that one was also named Tonbokiri. It is not certain that this is true, nor the reason being supposedly possessing 2 yari with the same name.

CONCLUSION

This here concludes this article on the Tenka Sanmeisō, and what makes them legendary weapons. With evidence of their existence, they are more than just rumors leaping out from the pages of history, as they have survived over many generations and made it to modern times (albeit the Otegine). The also ends this 2-part series highlighting the yari and its value in Japanese history. Hope this was enjoyable, as well as informative, regarding one of Japan’s strongest weapons.

1) Can also be pronounced “Tenga Sanmeisō” Also known as the shorter title, “Tenka Sansō” (天下三槍).

2) Can also be read as “Hi-no-moto Gō”.

3) Fukushima Masamori was introduced in part 1 of this series, which can be read here.

4) The descriptions come from Lifehacker Analyzer website.

5) This is “Shitennnō” (四天王) in Japanese.

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Fame to the Spear ~ Part 1: Shichihon Yari

The yari (槍), which is the Japanese spear, was once considered the strongest weapon. Boosting a long shaft and large blade, it was advantageous on the battlefield. Some armies used yari that was up to about 20 feet, giving the wielders a great reach that kept them safe against enemies at a distance who were using anything shorter. It was to the point where the yari became a status symbol, and only permitted to elite warriors to train in. Yet, it has been overshadowed by the katana (刀), the Japanese sword that was considered to be the soul of the samurai from the Edo period onward. This is mainly in part of battlefield weapons being banned during the Tokugawa rule from the 1600s onward, and the adjustments warriors had to make with arming themselves with the next best thing.

Looking into when the yari made a huge impact was during the 1500s, which was the time period when many warlords utilized formations that involved soldiers being outfitted with this weapon. It was also during this period where the ideal image of a strong warrior was reflected upon those who rode into battle wielding a yari, dispatching enemy troops, and defeating other strong opponents. Notable figures were recorded who demonstrated exemplary skills while bearing this formidable weapon. A popular tag that begin to emerge in the pages of history-focused books was “Shichihon Yari” (七本槍), which refers to seven warriors who had displayed great bravery on the battlefield with the Japanese spear in hand during Sengoku period. For this article, we will look at the most iconic tale that portrays seven brave spearmen, along with a bit of twists due to actual accounts. Finally, we’ll touch upon different groups that are also hailed by this illustrious title.

SHIZUGATAKE SHICHIHON YARI

The most popular and renown group to bear the title goes to a select warriors who were employed under the ruling power of Toyotomi Hideyoshi. Here’s how their tale begins.

Artwork featuring few of the Shihon Yari called “Shizugatake Ō-gassen no Zu”, by Utagawa Toyonobu.

In 4th month of 1583, after the death of Oda Nobunaga, Toyotomi Hideyoshi rose up to claim the rights to continue his master’s vision of ruling Japan. He wasn’t the only one who had their sights on this goal, as he would clash in a power struggle against another former Oda loyalist, Shibata Katsuie. In 1583, they would meet both commanding an army of their own and exchange blows in combat within the rocky terrains of Shizugatake in Ika domain, Ōmi prefecture. This battle will be recorded as the “Battle at Shizugatake” (賤ヶ岳の合戦, Shizugatake no Gassen).

The outcome of this battle had Hideyoshi come out as the victory. What is significant to note is that he praised and gave honors to seven warriors for their exemplary heroics during the battle, whom are recognized today as “Shizugatake Shichihon Yari” (賤ヶ岳の七本槍, Seven Brave Spearmen of the Battle at Shizugatake). This was first mentioned in the 20-volume documentation “Taikōki” written by the Confucian scholar Oze Hoan (小瀬 甫庵) in 1626.

These seven warriors are the following:

  • Hirano Nagayasu (平野長泰)（1559~1628）
  • Wakisaka Yasuharu (脇坂安治)（1554~1626）
  • Katō Yoshiakira (加藤嘉明)（1563~1631）
  • Katagiri Katsumoto (片桐且元)（1556~1615）
  • Katsuya Takenori (糟屋武則)（1562~???）
  • Fukushima Masanori (福島正則)（1561~1624）
  • Katō Kiyomasa (加藤清正)（1562~1611）

Each of these warriors were not just random individuals, but were born in military families. Receiving the typical martial training many military families offer, they had their fair share of battle experience before the event at Shizugatake. It can be said that this battle did highlight their potential even more, elevating them up in rank even during the early years of Edo period in the 1600s.

DETAILS ON THE BATTLEFIELD

During the battle at Shizugatake, these seven individuals, wielding a spear each, are praised as being ichiban yari (一番槍). This title means not only being the first to engage with the enemy, but to do significant work that benefited the overall outcome for their side. Due to their high spirit and valor, they helped to turn the tides in the Toyotomi force’s favor of what was starting out to be a difficult battle. This was through gaining ground in areas around Shizugatake, as well as eliminating key figures on the Shibata force’s side, which caused a lost of morale amongst their ranks. Especially Fukushima Masanori, for he managed to take the head of Shibata Katsuie’s commanding officer, Haigo Ieyoshi (拝郷家嘉). Masanori received the highest reward of 5000 koku (石, stipend in the form of rice per year), while the others received 3,000 koku each.

Artworks of the seven warriors that represent Shihon Yari from Ochiai Yoshiiku’s “Taiheiki Eiyuden” (太平記英勇伝) series. From Left-right top-down: Fukushima Masanori, Kasuya Takenori, Kato Yoshiakira, Wakisaka Yasuharu, Kato Kiyomasa, Hirano Nagayasu, and Katagiri Katsumoto.

Other acclaims that add to these seven warriors’ merits include the following:

  • Hirano Nagayasu defeating Shibata Katsumasa (柴田勝政), the adopted son of Shibata Katsuie.
  • Katō Kiyomasa defeating Yamaji Masakuni (山路正国), a warrior who defected to the Shibata side and helped with the initial success the Shibata forces had during the battle. It was through a well-timed counterattack that helped not only turn the ties to the Toyotomi force’s favor, but allowed Kiyomasa to dispose of the traitor¹.
  • Kasuya Takeyori defeating Yadoya Shichiemon (宿屋七左衛門). This event happened while fellow spearman comrade Sakurai Iekazu was locked in battle with Shichiemon. As Iekazu was injured by a cut from his opponent’s yari, Takeyori joined the fray and ran Shichiemon through with his own yari².

LEARNING THROUGH ARTWORK

Just as written accounts are considered valuable resources, the same can be said for visual artworks. There are various paintings that depict the battle that took place at Shizugatake at different museums in Japan. The most well known one is a folding screen version from Ōsaka castle, which has been duplicated by other establishments. These artworks also feature the Shichihon Yari, all with unique interpretations as these warriors engage with the Shibata force with their trusty yari in hand.

Since these are visual artworks, they tend to have slight variations from the popular tale, but usually not without reason. For example, in the version from Ōsaka castle, the Shichihon Yari are located on the right side together, but the line up is different from what is usually recited. Wakisaka Yasuharu is replaced by another warrior named Ishikawa Heisuke. In another, these seven warriors are shown charging into battle together, but the difference here is Fukushima Masanori is located in another area, already defeated his target. In his place amongst the seven warriors is Sakurai Iekazu.

  • 賤ヶ岳屏風
To the left, the multi-panel screen of the Battle of Shizugatake. To the right, a section from the aforementioned screen depicting the Shichihon Yari (on the right) lined up against their rivals from the original tale, as they clash yari vs yari. Of course, this is just an artistic interpretation.

Why is this? Apparently, it was more than just seven individuals who were praised for their efforts during the battle at Shizugatake. There were 2 more names mentioned, which were Sakurai Iekazu (桜井家一) and Ishikawa Heisuke (石河兵助). They too are considered ichiban yari, and are recognized for their efforts on the field too. On top of this, they were rewarded the same 3,000 koku as the 6 others. So, should the group not be called Kyūhon Yari (九本槍, the 9 Brave Spearmen)?

Speculations on this evolve around the untimely deaths of both Iekazu and Heisuke, with the latter actually dying during the battle, which had his son receive the reward in his place. As for Iekazu, he would die later, but the cause is unclear. In a different 5-volume version of the Taiheiki by Kawasumi Saburōemon, it states that Iekazu died from an illness in 1596. However, in a different account, he dies 3 years after the battle due to the injuries he sustained from his battle with Yadoya Shichiemon, and shortly after, from a revenge battle with the younger brother Yadoya Jirōsuke (宿屋次郎助), where they clashed with tachi (太刀, battlefield swords), then wrestled in kumiuchi (組討, armored warriors grappling) before Iekazu successfully took his life with his knife. Whatever the case is, there is no disagreement on the fact that Ishikawa Heisuke and Sakurai Iekazu fell from grace, and are not praised in the same light as the other seven spearmen.

OTHER SHICHIHON YARI

The term “Shichihon Yari” is believed to have been invented in later times, much after Sengoku period was over and these famed warriors had passed. Due to this, it became a coin term that other writers used to speak about exemplified spear-wielding warriors during various battles. Below are a few examples.

1) Ueda Shichihon Yari
Early in the battle at Sekigahara in 1600, Tokugawa Hidetada led a force of his own alongside with his father, Ieyasu. Hidetada’s force would make their way to Ueda castle, which was occupied by Sanada Masayuki. This encounter is known as “Battle at Ueda” (上田合戦, Ueda no Gassen). During this battle, seven warriors from the Tokugawa’s sided are recognized for their valiant efforts. Their names are the following:

  • Saitō Nobuyoshi (斎藤信吉)
  • Ono Tadaaki (小野忠明)
  • Shizume Koreaki (鎮目惟明)
  • Nakayama Terumori (中山照守)
  • Asakura Nobumasa (朝倉宣正)
  • Toda Mitsumasa (戸田光正)
  • Tsuji Hisayoshi (辻久吉)

Highest merits go to Ono Tadaaki, but in a turn of events he was also punished soon afterwards due to a violation in military orders, which was considered a huge crime. While he would be pardoned at a later date, this incident does tarnish Tadaaki’s image abit.

Another surprising point about this battle is that Tokugawa Hidetada and his force lost the fight against Sanada Masayuki and his force. While noted as a defeat, it’s also important to point out that none of these warriors died during this battle.

2) Azukizaka Shihon Yari
Possibly the first real account of skilled spearmen comes from one of Oda Nobunaga’s campaigns. In 1542, Nobunaga lead an army east towards Azukizaka in Nukatagun, Mikawa no Kuni. There, he would clash with the military force of the Imagawa/Matsudaira coalition. This event, the 1st of the ongoing conflict between these groups, is known as “Battle at Azukizaka” (小豆坂の戦い, Azukizaka no Tatakai).

During this battle is the first mention of what can be considered skilled spearmen that controlled the tides of a battle. Here’s the names of these acclaimed warriors:

  • Oda Nobufusa (織田信房)
  • Oda Nobumitsu (織田信房)
  • Sasa Masatsugu (佐々政次)
  • Sasa Magosuke (佐々孫介)
  • Okada Shigeyoshi (岡田重能)
  • Nakano Ichiyasu (中野一安)
  • Shimokata Sadakiyo (下方貞清)

From the Nobunaga clan’s written account called “Shinchō Kōki” (信長公記), it is said that these seven warriors were formidable in forcing the opposition to retreat, leading to victory. Unfortunately, there is not much detail about what actually took place and the feat these warriors performed on the battlefield. Note that while we know about this battle from this source, the Matsudaira clan’s well-documented “Mikawa Monogatari” makes no mention of this event. What’s even more interesting is that there was 2 battles that took place at Azukizaka, the 1st being 1542, and the 2nd in 1548. Both clans have detailed accounts on the 2nd battle, while the 1st is only mentioned in Shichō Kōki. There are a lot of speculations regarding this 1st battle, and whether it actually happened on the level it is claimed to have been.

ENDING

This here concludes our look at the yari through literature & artwork from Edo period. The tale of the Shichihon Yari offers a good look at how important and impactful this Japanese weapon was viewed during the Sengoku period, which influenced certain groups to continue to work with it even to modern times. Stay tuned for part 2, where we look at a few yari that were recorded as legendary treasures.

1) In another account, it is stated that a Hazumi Goemon (八月一日五左衛門), one of Toyotomi Hideyoshi’s retainer’s men, had taken Yamaji Masakuni’s head.

2) Depending on the source, who is said to have killed Yadoya Shichiemon varies. While Sakurai Iekazu was outbested by Shichiemon and would’ve died if it wasn’t that he was rescued, it is said that he landed the killing blow. However, Iekazu was only able to do so after Kasuya Takeyori ran his spear through Shichiemon’s chest, incapacitating him.

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The Female Leader and Strategist named Myōrinni

Today’s article features the tale about a female warrior name of Myōrinni ( 妙林尼 ), who lived during the frantic Sengoku period in the 1500s. Hailing from northern Kyūshū, she earned merits by defending her clan’s homeland at a time when it was in danger of being taken over by an invading force. In this article, we’ll look into what is known about Myorinni’s past, the events she took part in, and how she is remembered in present day.

One thing worth mentioning is that the records of Myōrinni are, like many other women during ancient Japan, not as well documented as her male counterparts. A few sources that do mention her and her acts of bravery include ” Ōtomo Kōhaiki” (大友興廃記, Rise & Fall of the Ōtomo Family), and “Ryōbunki” (両豊記, Bungo Province: Before & After). It is very difficult to come across the official sources, but fortunately there are a good number of Japanese websites that cover her story. Here’s a few sites that were helpful in writing this article:

THE BEGINNING

Looking into Myōrinni’s past, we learn that there’s not much recorded prior to her becoming a renown female warrior and leader. There are uncertainties regarding her birth father, for it is either she was the daughter of Hayashi Sakyonosuke (林左京亮 ), a Shintō priest at Oe Shrine, or Niu Kojiro Masatoshi (丹生小次郎正敏), a nationalist who specialized in a mining business. This has not been definitively confirmed. Who her mom was is also a mystery. Another mystery is her original name, which is unknown to this day; the name “Myōrinni” is a Buddhist name she took after becoming a nun. Variants of this name includes “Yoshioka Myōrin” and “Yoshioka Rinko”, with Yoshioka (吉岡) being the family name she married into.

A statue in Oita City, in honor of Myōrinni. From Wikipedia.

Why is there so little background info? A common reason behind this is because of how record-keeping were handled in the past. For instance, when it came down maintaining a family line’s genealogy chart, generally boys’ names were recorded, while girls were simply identified as “woman” or “daughter”. Women of a particular status usually associated with the Imperial court, held power such as land, or took part in an important or well-documented event would then have their names and background stories recorded in journals or diaries. You can say for half of her life, Myōrinni lived a simple life where who she was and her roots were not so significant enough where anyone needed to write it down.

Her story as a warrior, as far as we can tell, begins at a time when her husband, Yoshioka Akioka (吉岡鑑興), who was a retainer for the Ōtomo clan (大友家), and land owner of Takada villa (高田庄 Takada jō), Tsurusaki castle (鶴崎城, Tsurusaki jō), and Chitose castle (千歳城, Chitose jō). Their land was in the north-eastern part of Bungo Province (豊後の国, Bungo no kuni) located in Kyūshū, which was an island in the south-western part of Japan. They also had a son named Yoshioka Munemasu (吉岡統増), who was old enough to serve the Ōtomo clan as he helped manage Tsurusaki castle. In terms of her appearance, there is not much to go by during her youth to the time she was married to Akioka. However, there is much depiction of her later on wearing your typical Buddhist attire, which includes an iconic shawl and simple robes.

ŌTOMO VS SHIMAZU

The Yoshioka clan was a prominent one, as they were descendants of the elite Ōtomo family. They were also involved in the governance of their parent clan thanks to Akioka’s father, Yoshioka Nagamasu (吉岡長増). Along with the Ōtomo family having significant power in their own rights, they were also retainers to the current shogun of Japan, Toyotomi Hideyoshi. At the time, Kyūshū was divided into two, with Ōtomo clan having control of the northern half, and the Shimazu clan, land owners of Satsuma Province (present-day western part of Kagoshima Prefecture) further south west, controlling the southern half. As like many clans that sought more power through expansion, the Shimazu clan was extending their reach little by little by acquiring more territories in Kyushu, as they made their way towards the north. This includes a particular area called Hyūga Province (日向の国, Hyūga no kuni, which is present-day Miyazaki Prefecture).

In the 9th month of 1578, 21st successor Ōtomo Yoshishige commanded an army in an attempt to regain Hyūga from Shimazu’s clutches. At the time, Shimazu Yoshihiza was occupying Taka castle (高城, Taka jō) in Takagigawa no Hara (高城川原), Hyūga Prefecture with his own force. Both armies would clash head-on, which would lead to the “Battle at Takagigawa” (高城川の合戦, Takagigawa no Gassen). At first, the Ōtomo force had the upper hand, and were gaining ground against the opposition as they tried to overtake the castle. However, in the 11th month of the same year, Yoshihiza devised a strategy where his army would unexpectedly divide and surround the Ōtomo force from the east and west. Doing so caused them to flee towards Mimi river (耳川, Mimi kawa), where many soldiers including top commanders on the Ōtomo side had drowned as they tried to fend against the overwhelming odds. This triumphant victory for the Shimazu clan had this incident called “Battle at Mimi river” (耳川の戦い, Mimikawa no Tatakai). Akioka, Myōrinni’s husband, was also one of those who had died during this. Upon learning about the death of her husband, Myōrinni decided to retire herself to Buddhism. It was at this time she took up her Buddhist name, and was from this point on was recorded as so.

Facing a major victory, this boosted the morale of the Shimazu army, as they continued to make their way up north of Kyūshū, ambitious in taking over the region completely. On the other hand, things didn’t look to good for the governance of Ōtomo clan, as they lost some key members. In fear, the Ōtomo clan were able acquire aide from their master, Toyotomi Hideyoshi. Reinforcements were sent to help safeguard points they still had control over, but they too failed to suppress the invaders’ northern expansion. With nothing to stop them, the Shimazu force made their way to Ōtomo Yoshishige’s mainstay, Niujima castle (丹生島城, Nuijima jo).

MYŌRINNI’S PREPARATIONS FOR WAR

Munemasu, along with the younger soldiers, left Tsurusaki castle to provide aid to the Ōtomo clan by preparing fortification at Usuki castle (臼杵城, Usuki jō), leaving his mother, children, women, and older soldiers behind. Myōrinni was concerned about the safety of everyone who remained at the castle, for it was possible that the invading Shimazu clan would target them as well. Not wanting to give in to the idea of sitting idly just to surrender when the time came, she devised countermeasures to outlast a possible siege. She evaluated the castle’s strong points, as there were plenty; Tsurusaki castle was situated between bodies of water to the east, west and north, providing it natural defenses that made it too difficult for an invading army to attack in these areas. She had everyone at the castle help with setting up defensive measures to Tsurusaki castle, which included digging pits in the field as traps, and setting up makeshift alarms called naruko (鳴子, small hollowed bamboo pieces strung to a wooden board by a rope) to prevent potential infiltration attempts. Myōrinn also had everyone with no combat experience train how to use matchlock guns in order to fire at the enemies from a distance within the safety of the castle.  

In 1586, Shimazu Yoshihiza set forward a two-prong assault, one on Usuki castle where the Ōtomo army set up fortification, and another towards Tsurusaki castle, where Myōrinni and her makeshift force were preparing their defenses. It is stated that Yoshihiza sent retainers such as Ijūin Mimasaka-no-kami Hideo, Nomura Bitchū-no-kami Fumitsuna, and Shiraha Suou-no-kami Shigemasa, along with 3000 troops, to storm Tsurusaki castle. The Shimazu force could only approach from the south, which made it perfect for Myōrinni’s defensive plans to go into effect.

While the invaders charged with what can be considered unmatched might, they fell prey to the many pitfalls cleverly designed in the southern path, while the naruko alarms made it easy to pinpoint where the soldiers were as the battle-inexperienced civilians released volleys of shots from their guns and stopping them in their tracks. The Shimazu force apparently made 16 attempts to storming the castle, but each time was the same as before, which them being forced back by the near-impregnable defense Myōrinni and her militia were maintaining.

ANOTHER BRILLIANT TRAP

Despite the successful defensive play, Myōrinni was faced with an impending issue. Tsurusaki’s food rations were heavily depleted, while many of the inhabitants were becoming fatigued from the many assaults that came towards the castle. On top of this, despite successfully halting a possible invasion 16 times, it doesn’t look like the Shimazu force was ready to give up. The invaders then sent a message to Myōrinni, stating that if she allowed the gates of Tsurusaki castle to be open so that they can claim the castle peacefully, they will ensure safety to her and the inhabitants. Thinking that the safety of her people present was top priority than to risk their lives and fail in a battle they cannot outlast, she agreed to the terms. However, what the Shimazu force didn’t realized that this was a mere ploy, and that Myōrinni was scheming on how to use the situation to her benefit.

Tsurusaki castle’s gates were opened, permitting entry to the 3 Shimazu generals and their troops, while Myōrinni and the others were allowed to reside in the lower level  of the castle. For several nights, Myōrinni and several of the women in her group entertained their new guests as they feasts by serving them alcohol and the like. This allowed them to get closer to them. She noticed that one of the generals, Nomura Bitchū-no-kami Fumitsuna, became particularly fond of her, and was developing feelings for her. Myōrinni decided to keep this relation with him, and use it at the right moment to her advantage.

The Shimazu force were successful in extending their reach into Hyūga province, and invading into the lands of the Yoshioka and Ōtomo family. With much of the Ōtomo force held up in Usuki castle, they needed more help in order to contend with the large Satsuma army. In 1587, Toyotomi Hideyoshi amassed a very large army¹, which he set out to reclaim Kyūshū. Suspecting that the Toyotomi force would bring the battle straight to Kyushu to drive them out, Shimazu Yoshihiza had ordered his troops who occupied different points in Kyushu to concentrate their power in Hyūga Province. This included the 3 generals who held Tsurusaki castle.

Fumitsuna, worried about Myōrinni’s safety as the impending war loomed over them, suggested to her that she move to Satsuma Province. This way, in case the Satsuma force had lost, she wouldn’t be caught and punished for being a traitor. Myōrinni happily obliged², but not for the reason Fumitsuna believed. That night, after getting Fumitsuna drunk & wasted, she quickly wrote a letter and had it delivered to the 50 retainers of the Yoshioka clan³, which included a Tokumaru Shikibe (徳丸式部) and his family, Mukaishin Uemon (向新右衛門), and the Nakamura Shinsuke brothers (中村新助兄弟). This letter served as a declaration that they were to prepare for war against the Shimazu force.

DECISIVE BATTLE TO RID OF THE INVADERS

As the 3 generals left Tsurusaki castle with their troops as they moved southward towards Hyūga Province, they were ambushed on their way by a small army of Yoshioka retainers. This clash took place near Otozu-river (乙津川, Otozu-gawa), with the Shimazu force caught with their backs to the river. This skirmish is known as “Battle at Terajihama (寺司浜の戦い, Terajihama no tatakai), as well as “Battle at Otozu-river” (乙津川の戦い, Otozu-gawa no tatakai). The 3 generals and their troops were defeated woefully, with 2 of them dying in battle. Although Fumitsuna suffered many wounds from arrows rained upon him and his troops, he still managed to survive long enough to escape to Hyūga Province. However, he would shortly pass away from his fatal wounds.

In the Yoshioka accounts, it is written that during this battle, the Yoshioka clan personally took down the 3 Shimazu generals, along with 300 of their soldiers. On top of this, Myōrinni is mentioned to have participated as well, and took the heads of 63 enemy soldiers. As a sign of her loyalty and dedication, she had those heads sent to Ōotomo Yoshishige, who was at the time at Niujima castle. She received much praise for her efforts. As for the loses on the Shimazu side, they suffered a heavy death toll during the battle. As a means to put the lost soldiers to rest, a burial site was created near Terajihama called “Sennin Zuka” (千人塚).

Word spread about the Yoshioka’s success, especially about Myōrinni’s impressive feat in organizing their successful battle at Terajihama. Toyotomi Hideyoshi was also informed, who then requested that Myōrinni come to Ōsaka castle in person and be bestowed honors. However, Myōrinni had no interest in this, and humbly turned this down. Instead, she merely asked that she keeps her late husband’s keepsake sword as a reward for fulfilling the role as castle lord while her son was supporting the Ōtomo clan, and assisting in defeating the Shimazu clan from northern Kyūshū, which was motivated by acts of revenge for her late husband.

ANALYZING MYŌRINNI’S LEGACY

After these events, there is no more word about Myōrinni. It is thought that, as a Buddhist, she removed herself from the political life the Yoshioka clan were involved with, and went into seclusion to live the remainder of her life in peace. Today, a statue honoring the legacy of Myōrinni can be seen in Tsurusaki Ward⁴ of Oita City, Oita Prefecture. She is even elevated to the level of a saint, where some establishments in Oita City sell omamori (御守り, talisman) that represent her.

The official website for Oita City has several publications that feature Myōrinni. The following is one of them, which features her (circled in red) amongst other historical figures whom are considered heroes of northern Kyūshū. From City of Oita Offical Website.

While she has considerable fame especially in what can be considered her hometown, there is still much mystery that surround Myōrinni as a whole. For example, it seems that just as sudden as she makes her appearance during the Ōtomo family’s war against the Shimazu force, her story ends just as abrupt once her role is done. There are no clear details about she lives the rest of her life. In terms of her own combat experience, we don’t get any info on that either. Yet, from little descriptions we are told that she designed the defensive measures for Tsurusaki castle, and had all the residents there train for combat, especially with muskets. In her own rights, it is possible that prior to the events between the Ōtomo family and the Satsuma army, Myōrinni may have learned much about warfare and worked closely to her late husband. Or, she may have learned about combat even before marriage. The latter is a stretch, as usually women of a military family can gain such access to combative training.

While she is admired by her cleverness and commitment in freeing her land, we must also wonder if this was truly a one-woman show. It is not unusual for leaders to discuss & plan with others, such as a strategist. However, in Myōrinni’s case there is no mention of her working closely with anyone. It is possible that she spoke with, and was assisted by, a few of the older soldiers that were in her party. It would make sense, especially to have them help train the residence to be battle ready. Alas, as they remain nameless in the original sources, their involvement in the battles also go unmentioned. Lastly, accounts mention how she beheaded 63 soldiers from the Shimazu army. How did she go about doing this? During the battle at Terajihama? Or afterwards, on captured enemy troops? If she did participate in the skirmish, did she do so with her husband’s sword, a matchlock gun, or a naginata? It is a shame that these details were left out, but it is also not unusual. In fact, it is pretty common to find pinpoint details regarding what took place during battles for many important figures.

ENDING

The bravery and strategic genius of Myōrinni is quite impressive, as it illustrates how well-formulated plans can foil even the largest of armies. Her story has been covered over the years, both in novels and historical programming in Japanese, which helps to keep her legacy going even in modern times. Here’s hoping this article continues this trend, as it serves to introduce Myōrinni’s story to a western audience.

1) One of the figures given for Hideyoshi’s troop support is 200,000. War journals of old are known to inflate the size of armies as a means to illustrate that they were large. Thus, this figure is most likely an exaggerated number, and should be much lower.

2) There is another version of this, where Myōrinni initiated the conversation about accompanying Fumitsuna back to Satsuma Province.

3) These retainers are related to the Yoshioka-owned Takada Manor, and most likely reside there. It’s possible that this is where they were when the letter was delivered.

4) Former grounds of Tsurusaki castle.

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Bokuden and his Live Lesson regarding the Naginata

Today’s post is a continuation of reviewing the Hyakushu, a gunki (軍記, military documentation) written by the famed Tsukahara Bokuden. Whereas in a previous post we went over various rules out of the 100 entries found in the Hyakushu, this time we look at 3 that focus on a particular theme. Along with this, will be a real life story of Bokuden that serves as an example of, through experience, how advice can be passed down with merit.

RULES ABOUT THE NAGINATA

The 3 rules we will look at are #35, #36, and #37. These 3 rules share a common theme regarding on the weapon known as the naginata (長刀 or 薙刀, glaive). Here’s the rules both in Japanese, and their English translations provided by myself. The source being used is the book “Gunjin Seishin Shūyōkun” (軍人精神修養訓):

Rules #35, 36, and 37 from the Hyakushu, circled in red.

ー、長刀は二尺にたらぬほそ身をは持は不覚の有と知るへし（三十五）

ー、手足四つ持たる敵に小長刀持て懸けるとよもや切られし （三十六）

ー、太刀かたな持たる敵に小長刀しすます時に相討ちとしれ（三十七）

  • It is a disadvantage to wield a naginata with a blade less than 2 shaku (2 feet) (#35)
  • You will certainly not get cut down by an enemy who possesses many skills, wielding a konaginata (#36)
  • Understand that you, despite how skillful you are, will end up in a mutual kill against an enemy who wields a tachi or katana (#37)

In regards to #35, the standard length of the blade found on an ōnaginata (大長刀, a long-bladed glaive) in the past was 2 shaku 3 sun (87.4 cm) or greater, while anything less would be a konaginata (小長刀, a short bladed glaive).  Here, Bokuden implies that any naginata that has a blade less than 87.4 cm, is a konaginata, which he does not have a favorable opinion on.

For #36, one should not worry about an enemy wielding a konaginata. No matter how skillful he/she is, or tricks they may use, because their reach is short it will not be a problem to defeat them. Naginata’s advantage is reach, but making it shorter, especially the blade, nulls that advantage.

As for #37, Bokuden advises against using a konaginata. It is a continuation from both #35 and #36, except that now he cautions skilled warriors that no matter how good you are, at most you will end up committing ai-uchi (相打ち), where both fighters die at the same time delivering killer blows. It can be said that Bokuden puts more faith in kenjutsu than naginatajutsu.

Note that this is just the opinion of one individual, and these rules are not written in stone that the konaginata is an ineffective weapon. This is probably based on his experience with the weapon, or what he’s seen by those who so happen to use this.

A version of Tsukahara Bokuden’s duel against Kajiwara Nagato, found in the book “Budō Gokui” (武道極意)

BOKUDEN VS THE NAGINATA SPECIALIST

Speaking of experience, there are many recordings in regards to Bokuden’s real life experiences in combat, many of them related to duels and fights. One particular story that will be covered here is his bout against a specialist who fights with a konaginata. Note that many sources such as “Nihon Bugei Shoden” (日本武芸小伝) and “Zusetsu – Kobudōshi” (図説・古武道史) reference this story, sometimes in great details, and other times not. Below will be the story as full and accurate as possible. Take note that there are some graphical descriptions in the text, so please read with caution.

During Bokuden’s kaikoku shugyō (廻国修行, journey around Japan for the sake of training and employment), he came across a warrior by the name of Kajiwara Nagato (梶原長門). Through much boasting, Nagato was making a name for himself as a renown fighter with the naginata. He did so by performing feats of leaping into the air, and coming down with a strong strike fast enough to cut down birds such as kiji (雉子, green pheasants) and kamo (鴨, ducks). Nagato also claimed that no warrior has yet to either avoid or withstand his power strikes, as many of them, whether they be swordsmen or spearsmen, were slain in mortal duels. Furthermore, he made it known that he used a peculiar method of first cutting off his opponent’s left hand, then the right hand, before finally finishing them of by cutting clean through the neck. Learning about these points, Bokuden was certainly up for facing against such an individual. So he challenged Nagato to a duel to the death, who willingly accepted.

When the day came, the two held their duel at the lower area of Kawagoe in Bushū (present-day Kawagoe City, Saitama Prefecture). While Bokuden wielded a tachi (太刀, an older word for sword), Nagato used a konaginata, with the blade length about 1 shaku 5 sun (57 cm). Bokuden’s disciples were there to bear witness¹. At the start of the duel, Nagato leapt at Bokuden like a bird taking flight², and swung his konaginata down at him. Bokuden evaded the attack, with the konaginata’s blade cutting into the ground. Instantly, Bokuden countered with a severe blow, as he sliced Nagato’s face in two.

ANALYSIS

Depending on the source, Bokuden is usually depicted as expressing the weaknesses of the konaginata to his disciples right before the fight. If stated simply, he mentions that having a long shaft, yet a short blade for a naginata gives no advantage no matter how fast the wielder moves or tricks used. Whether or not he actually spoke such info right before the duel is hard to prove, but for the sake of the readers this could’ve been included to further enhance his views regarding the konaginata. In regards to Nagato’s merit, Bokuden also expressed his opinion about him not being that great, as cutting down wild birds or inexperienced warriors was nothing that impressive. In some sources this conversation is short and just focuses on the size disadvantage the konaginata has, while in others it is quite long and detailed.

In some sources, credit is given to Bokuden for incorporating psychological warfare. As an example, from the tales coming from Kashima City, there is one that states Bokuden lecturing his disciples about the weaknesses of the konaginata…while his opponent was in ear shot. This made Nagato furious, so when the duel started he fought recklessly, which made him lose rather easily. In another source, it is written that Bokuden brought to the duel a much longer tachi than what most would use at the time. On one hand, this supports his views on always giving yourself the advantage with a longer weapon, which can be seen in rule #20 of his Hyakushu regarding swords³.

CONCLUSION

In ending, Tsukahara Bokuden is an individual portrayed as having a great amount of experience in warfare. His opinion on weapons like the naginata is based on his personal experiences, especially versus those who’ve used them against him in duels. As mentioned before, there are many stories of his life experience, with some that can be compared to the Hyakushu. I may revisit the Hyakushu again, using a different story of Bokuden’s to reference the lessons expressed in a few of the rules.

1) In various sources, the type of bird Kajiwara Nagato is compared to ranges from a tsubame (燕, swallow) to mozu (鵙, shrike). These birds are usually admired for their grace or speed in flight.

2) Unlike other warriors who had to tough it out during their training journeys solo, Bokuden was generally accompanied by a group of individuals, from assistants to personal students. Credit goes to him coming from a rather wealthy family, thus the ability to have support while far away from home.

3)This can be reviewed in a previous post here.