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Battle Formations ~ Part 1: Warring Period’s 8 Formations

Strategies used by warlords for total supremacy during the warring states are often described in detailed recollections within the pages of Japanese historical documents, along with modern novels. It is not limited to those on the winning side, for war journals, manuals, and the like by families, commanders, and even warriors who made significant contributions on the battlefield, are held in high regard. For me, some of the more interesting sections I find are those that lay out info regarding the strategic make up of an army, which includes the gear, techniques, and methodology. Jinkei (陣形), or battle formations in English, is one that falls into this category, yet has a lot of shrouded mystery around it due to a lack of explanation even when illustrations are provided.

Battle formations used in Japanese wars is a topic I’ve wanted to write about for a long while. Bearing many variables such as truths and overall effectiveness, this is one that I’ve spent a long time analyzing, and am willing to cover in a series format. Amongst many conversations I’ve come across on said topic, is a set of 8 battle formations which were first discovered in one of Japan’s highly prided historical documentation, and have been popularly laid out in the heroic recollections of powerful warlords utilizing them to outwit and claim victory over their adversaries. How true is this? Today’s article will serve as part 1 of this series, and will be our first step in getting to the bottom of understanding what battle formations are truly all about.

ORIGINS OF JAPAN’S TOP 8

These 8 formations are nicknamed “Sengoku Hachijin” (戦国八陣), which can be translated as “the 8 Battle Formations of Japan’s Warring States”. There are more battle formations in existence, from earlier times to methods used for varying situations. However, these 8 that will be covered today are considered very essential during the peak of Japanese systematic warfare¹, helping to further develop tactics in future times. As the name implies, these 8 formations were historically recorded to have been created, and used in skirmishes by famous warlords, during the 1500s, which makes them recognized as valuable material of study by researchers.

Two leftmost panels from the artwork “Shinshuu KawaNakajima Takeda Uesugi Waboku zu” (信州川中嶋武田上杉和睦圖), where Takeda Shingen and his army maintain formation while in the middle of peaceful resolution with is long time rival Uesugi Kenshin. By Utagawa Kunisada.

Here are the names for each of 8 battle formations, accompanied with my English translations.

  • Gyorin no jin (魚鱗の陣, Fish Scale formation)
  • Kakuyoku no jin (鶴翼の陣, Crane’s Wings formation)
  • Engetsu no jin (偃月の陣, Crescent Moon formation)
  • Kōyaku no jin (衝軛の陣, Oxen’s Yoke formation)
  • Chōda no jin (長蛇の陣, Long Snake formation)
  • Hōshi no jin (鋒矢の陣, Arrowhead formation)
  • Hōen no jin (方円の陣, Squares and Circles formation)
  • Gankō no jin (雁行の陣, Geese’s Flight formation)

While the names may sound like systematic positioning and intricate patterns were deployed, in truth these formations were much simpler in application due to the more straight-forward, head-on clashes Japanese armies participated in. Since as early as Heian period, commanders relied on troops to rush forward, meet their weapons against the enemy and beat them back, while cavalry stayed mobile on the field to disrupt the enemy lines. Thus, having a group of warriors assuming a stationary position waiting for the opposition to fall for some elaborate plan on the battlefield wasn’t as common as one would imagine.

Around the 1500s, battles gained new layers of strategy. Better equipment were being used, while new weapons were slowly being incorporated. Warlords at the time were crafting cunning, and oftentimes underhanded, methods to outwit and overcome the opposition. Forming smaller squads and units, and having them deployed during battle to accomplish specific goals became more common during this time. This is where Takeda Shingen (1521 ~ 1573), a highly decorated warlord of Kai Province (present day Yamanashi Prefecture), cemented himself as a major player through incorporating those 8 formations within his army, having certain units use them to counter, confuse, and eventually outmatch his enemies. This was possible due to the cleverness of Yamamoto Kansuke (???? ~ 1561), a renown tactician and one of the Takeda family’s top 28 officers.

Resources used in my research on the 8 formations include (but not limited) the following:

UNDERSTANDING THE FORMATIONS

Now, let’s look at each of the 8 formations. Below are illustrations of how each are utilized by an army, which include key players & units used during Sengoku period. Each individual and/or group will be color-coded under the following:

  • RED = commander / team commander / leader
  • ORANGE = front line
  • YELLOW = 2nd unit / 3rd unit / mobile cavalry
  • PURPLE = commander’s personal guards
  • BLACK = back line / archers / gunners / etc.

Some things to point out before going forward. Formations found in military manuals, scrolls, or other documentations serve as a visual guide to build upon. They are neither to be taken as-is, or followed 100% strictly; due to the nature of conflict, environment, soldiers at hand, size & placement of the enemy, the progression of the battle at hand, etc. a commander or tactician may take liberty and change how the overall formation should be finalized both in shape and positions. Saying this, the illustrations provided are merely to serve as examples to give the reader a visual understanding of a possible use of each of the 8 formations. All illustrations feature the army facing towards the right.

#1

Gyorin no jin (Fish Scale formation)

A formation where the commander is placed in the middle of his army closer to the back, while the majority of the force is in the front. At first glance, the defensive capabilities of Gyorin no jin is pretty clear, which is why the name “fish scale” is used. However, in reality it possesses relatively good offensive traits as well. For example, we can use the imagery of a spearhead, where the front line is narrowed like point and charges through , while the rest of the troops behind gradually widening out all the way to the back line. The commander sits safely near the center, well surrounded by the army.

Other than offering all-around protection, Gyorin no jin can be used to pierce through the center of the opposing army, disrupting their formation, and ultimately wiping them out as they are left divided.

#2

Kakuyoku no jin (Crane’s Wings formation)

A formation compared to the splendor of a crane’s wings spread wide, where your army fights grouped together, then separates outwards. The wings create a “V” shape when extended outward, which dictates the strategic movements. In the diagram, the commander is at the back-center, and the frontline troops are at the front. As they approach the enemy army, the supplementary units (the 2nd and 3rd units) spread outward, creating a 3-way attack where the opposition has to not only deal with the frontal assault, but being swarmed from the sides at the same time

Outside of its ability to surround the opponent by enveloping them, Kakuyoku no jin is considered to have good defensive properties.

#3

Engetsu no jin (Crescent Moon formation)

Engetsu no jin is a formation liken to the crescent moon phase. There are 2 variations, with the 1st having the commanding officer take the lead in the center, while the troops curve outward and trail behind, while the 2nd has the commanding officer instead in the back in the center while the troops are ahead in a curving fashion. In either variation, the commanding officer is considered being active closer to the front line leading the charge to attack the opposing army head on, making them visibly present.

A rather risky tactic, Engetsu no jin demonstrates moments such as when a commander is bold & fearless, with defeat being a foreign notion. Or, when an army’s on the losing end and morale is low, a commander may have no choice but to invigorate his troops by leading a charge in a fit of bravery, which could turn the tables in their benefit.

#4

Kōyaku no jin (Oxen’s Yoke formation)

Visually, this is a wide formation, where troops form 2 semi-lines through the forefront troops and the back line, with each stretching to either side of the commander. Kōyaku no jin creates a shape which can resemble 2 oxen linked together with a yoke, allowing the army to create an impenetrable defense through this formation, or pincer the enemy by wrapping around them.

With the ability to react to a situation whether a threat is in the front or comes from behind, Kōyaku no jin is recognized for its high defensive traits.

#5

Chōda no jin (Long Snake formation)

In this formation, the commander has their troops grouped together in a long line, resembling a snake. Strategically, this line creates 3 parts: a head, a tail, and the body. The idea is everyone moves according to the line, which is more prominent on narrow paths. All parts focus their attacks forward lead by the head, while simultaneously protecting any part that is in danger from an enemy’s assault. (i.e. the tail end protects the head, the head protects the tail, the head & tail protects the body).

Chōda no jin is a simple line formation that can be easily utilized in narrow environments, without fear of being surrounded.

#6

Hōshi no jin (Arrowhead formation)


The foundation of Hōshi no jin is that of the shape of an arrow. With one look, we can discern the main parts, and the intentions behind its movements. For example, the commander is at the back (nock) directing the troops (arrowhead) in the designated direction. As the front line penetrates through the enemy lines, the 2nd units behind push opposition troops to the side, making a large path for the rest of the army to follow.

By design, the leader stands behind the troops, directing them like an arrow. Hōshi no jin prioritizes quick & rapid assaults, such as when targeting the enemy commander.

#7

Hōen (Squares and Circles formation)

The name “Hōen” implies that smaller squads form a defensive perimeter around the commander and the main army. 2 patterns are created by the smaller squads, one being a 4-way and the other an 8-way. While one can see the potential through the shapes of the formation, the following proverb may also give a clue behind this formation:

方円之器（ほうえんのき）

「水は方円の器に従う（人は環境や指導者によって良くも悪くもなる）」		 “Square and round vessels”

“Water takes the shape of its container (and people become good or bad depending on their friends).”

Establishing a near 360 defensive wall, Hōen no jin is a formation strong against an enemy army that attempts to surround and conquer, use sudden attacks, as well as invade through night raids.

#8

Gankō (Geese’s Flight formation)

This is a formation that has characteristics of the diagonal flight pattern by a flock of wild geese. The strategy here is the front most troops diverge at an angle while the rest of the army continues forward to confront the opposition. This sudden change of course by the smaller team of troops can open up opportunities for tricky strategies such as flanking attacks, or handling danger coming from a different direction.

Gankō no jin is a flexible formation, as it is advantageous when paired with other formations, as well as can provide additional defensive capabilities.

SHINGEN AND KANSUKE’S INSPIRATIONS

While the overall application and methodology in Japanese warfare makes them products of Japanese ingenuity, the concepts behind the 8 formations are not 100% so. Before their conception, different Chinese military sources reached the shores of Japan through cultural exchanges, and introduced the basis of battle formations.

Those who were privy to the contents of these foreign sources and could decipher their teachings incorporated them into their battle strategies. However, their full potential wouldn’t be unlocked until centuries later, when warlords fought feverishly to be the ruler of Japan and unite all the lands within this island country.

In present times, the discovery of these 8 formations, and the methodology behind them fall on one source, the military treatise called Kōyō Gunkan (甲陽軍艦). Credit is given to Takeda Shingen and Yamamoto Kansuke, the masterminds behind said topic. Within the 27th volume of the Kōyō Gunkan is a recollection of a conversation between the 2 individuals regarding the 8 formations, where Kansuke explains their roots from different Chinese military works². These sources provided the strategic foundation, framework for the individual organization, and the coded naming convention used for each of the 8 formations. Kansuke also went as far as staking a claim about his ability to decipher these foreign tactics in a way that no other warlords can³. Praise is given to him due to his insight in foreign tactics and his resourcefulness in making them accessible in unforeseen ways, as well as to his lord Shingen who, through his natural leadership skills, possessed the ability to command his army using the 8 formations to claim many victories.

What makes the 8 formations as described in the Kōyō Gunkan highly regarded is the unique manner in which the Takeda army utilized them, for the direction Kansuke and Shingen went with goes beyond an army assuming a mere strategic shape as a whole. This is discovered through reading the summary of different battles in the Kōyō Gunkan, although the formations used are not written in clear & descriptive manner. Japanese researchers spent time to break down the contents in each of these summaries to identify when, where, and how each formation came into play.

As a whole, the 8 formations as learned from exploits recorded in the Kōyō Gunkan differ from the Chinese sources in many ways. We can even go as far and compare them to versions of battle formations utilized by other warlords in Japan. Such arguments already exist, as enthusiasts spent time analyzing the overall effectiveness of battle formations used in Japanese warfare. The sole fact that the Kōyō Gunkan not only lists all 8 of these formations, but describes their uses in actual battles, makes it easier for researchers to depend on it as a resource in their studies, which is the reason why Kansuke and Shingen are credited to properly introducing the methodology behind the 8 formations⁴. To fully understand how Kansuke pulled this off, as well as how Shingen contributed to revolutionize battlefield combat would require a separate, dedicated article, which will be in the works later this year.

CONCLUSION

We come to the end of this introduction of the famous 8 formations from Sengoku period. In the next part, there will be further analysis of each one, followed by examples from war stories of Japan’s past.

1) To be more specific, this is before Japan became unified under one single ruler, and incorporated modern methodology through Western influences.

2) Records like Taiheiki (太平記) mention only a few names from the 8 formations existed in events before Sengoku period, primarily Gyorin no jin and Kakuyoku no jin. While there’s a possibility that few warlords learned about them (or, something similar) a few centuries before Kansuke did, opinions lean towards the use of exaggeration narration in records that were compiled later in Edo period, which then included a few of the 8 formations after contents of the Kōyō Gunkan became public knowledge.

3) The actual statement about the 8 formations, which was spoken by Yamamoto Kansuke, is the following (source: Kōyō Gunkan ~ Kōyō Sōsho, pgs 175~176):

“…諸葛孔明八陣の図を御屋形様御手前にて諸人の合点仕る様に和げなされ御尤にて候からの軍法一魚鱗二に鶴翼三に長蛇四に偃月五に鋒矢六に方勾七に衡軛八に井干行是よきと申ても日本にては皆合点仕らず候其儀晴信公御分別次第になされ諸人の是を能存る様になさるへき…”

4) Interestingly, a few of these 8 formations have actually made it to modern times, where versions of them are used in sports & competitions.

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Nōgaku and the 3 Stages of Evolution

Over the years, many articles here cover medieval Japan, from famous warlords, iconic battles, and legendary weapons. In some of these, theatrical actors and performers have also been mentioned, such as being granted important heirlooms from noble families. Who are these individuals, and why were they in a position to interact with powerful, influential people? To get an idea is to first look at their profession known as nōgaku (能楽), a traditional performing arts rich with cultural heritage. Nowadays, this is popularly represented through the theatrical performances of Noh (能) and Kyōgen (狂言).

To cover nōgaku in its entirety is a huge task probably not possible in one article. Instead, I will give an introduction to it and how it was received throughout 3 specific periods in Japan. These 3 periods were influences by the military class, the ruling shogunate during peaceful times, and the reception of the common folks.

WHAT IS NŌGAKU?

Nōgaku is the umbrella term used for theatrical entertainment, which can be interpreted through its name as “performing arts and musical entertainment”, although in actuality there are different categories of performing arts outside of nōgaku, each developed at different points in Japan’s history. If we make an attempt to look at the possible roots of nōgaku, then we can turn to the 4th-volume of the theoretical writings on the subject entitled “Fūshin Kaden” (風姿花伝) as a source¹. Entitled “Shingi” (神儀, Divine Rituals), this volume introduces a story that claims the forefather of nōgaku in Japan is “Hata no Kawakatsu” (秦河勝), a nobleman of the Hata clan who was also a skilled performer in his own rights during the 6th century-early 7th century. Kawakatsu’s greatest feat is single-handedly fulfilling the request of his host, Prince Shōtoku (聖󠄁德太子, Shōtoku Taishi) to perform an auspicious dance called “Rokujūroku ban no Monomane” (六十六番の物まね, The 66th Imiatation), which was able to ward off many calmities inflicting their land. The claim here is that the concept of theatrical performance was born from the miracle in this story, which in turn brings forth what we can call nōgaku.

Image of Hata no Kawakatsu. From Wikipedia.

The style of nōgaku, which is represented today through Noh and Kyōgen, is acredited to an older form known as sarugaku (猿楽)², where the performer(s) assumes character roles and play out stories through song and dance. This came into fruition and slowly grew throughout the ages from as early as the mid-early 1300s of the Muromachi Period, surviving over 600 years to the modern era.

KANAMI’S CONTRIBUTIONS

The long history of nōgaku and its survival to present day is accredited to Kanami (観阿弥), a sarugaku specialist, and his son Zeami (世阿弥). The two started their careers as actors in a performance group of their own during the 14th century, putting on short plays primarily during religious processions at temples and shrines. The theme of these short plays were more in line with the auspicious beliefs and practices tied to these establishments. At some point, other performance troupes began to try new things, such as wearing masks, wearing more colorful outfits, incorporating singing, enchanting music, and putting on intricately choreographed dances. Kanami and Zeami conformed with the changes as well, to the point where they became trend-setters, going beyond the expected as they evolved their simple performances into something more captivating with diverse tales that were outworldly and surreal.

3-panel artwork entitled “Higashiyama dono sarugaku kōgyō no zu”, or “A Sarugaku Performance for Lord Higashiyama”. This depicts a scene in 1465, where sarugaku performers (background) put on a show dressed up as warriors before the shogun Ashikaga Yoshimasa and his retainers (foreground) as they watch on in celebration of his wife’s pregnacy. By Utagawa Sadahide.

Through much effort, Kanami’s troupe’s craft grew over time as they gained attention from prominent groups. In time, nōgaku became a commodity of sorts through sarugaku as stylized through the father-son duo, along with other performance troupe that followed suit. The demand to witness the brilliance of nōgaku went as far as performance groups receiving permits to travel to those very elite families’ estates to entertain them.

Essentially, Kanami and Zeami are revered as pioneers of the direction nōgaku has gone to as we know it. The result is many of the famous performances are based on classical tales, which range from folklore, romance, to war stories. While some are original, many of these were already familiar to those from wealthy, prestigious families in the past, as they come from books they read or from stories told to them while growing up…but now these same people could experience those tales unraveling before their eyes in real life. What makes these performers so attractive are the following highlights: the wide usage of masks, the intricate movements during jigs, and manner of speech for storytelling through songs, all accompanied with lavishly flamboyant and colorful outfits, as well as bigger than life accessories such as wigs, props, and the like. Some troupes even incorporate props such as fans and mock weapons to captivate viewers. Other troupes added a flair of comedy to some of the stories they played out.

NŌGAKU FOR THE MILITARY CLASS

Let’s step back abit and examine the historical progression of nōgaku. Through the evolution of sarugaku, nōgaku gained a solid foundation later in the Muromachi period going forward as performance troupes grew into specialists of their craft, gaining high regard towards their skills in both acting and storytelling. So high, that prominent figures with military might and land control would commission them for special events and gatherings. As compensation, performance troupes received payments in the form of sustenance, such as baskets of rice. In other cases, they would be given currency such as coins, treasures such as weapons, or tradable goods like silks and high-quality clothing. The biggest payment of them all is earning patronage from a powerful lord, meaning receiving possible long term support.

This exclusivity would later have nōgaku earn the nickname “buke no shikigaku” (武家の式楽), with the reasoning due to it being categorized as ceremonial entertainment for the elite. Big names associated to such status includes the ruling Ashikaga clan during the Muromachi period, to competing warlords like Oda Nobunaga and Tokugawa Ieyasu during the Sengoku period. While many of the elite enjoyed nōgaku as pure entertainment, there were those few who resonated with it in the form of self expression. For instance, there are records of prominent figures like Oda Nobunaga and Tokugawa Ieyasu studying nōgaku, and performing privately in their quarters.

Screen shots of 2 famous nogaku plays, “Atsumori” (left) and “Takasago” (right). Both can be viewed on Youtube here and here.”

Let’s take Nobunaga and his love for “Atsumori” (敦盛) as an example. Atsumori is a theatrical play done in kōwakai mai-style (幸若舞, historical storytelling through song and dance), and is based on Taira no Atsumori from the famous war journal “Heike Monogatari”. There is a particular scene in the 3rd act, which retells the earlier moments of Taira no Atsumori as he recites a death poem, which goes as the following:

JAPANESE (ORIGINAL)ENGLISH TRANSLATION

人間五十年、

下天のうちにくらぶれば、

夢幻の如くなり
A person’s lifespan is that of 50 years,

Compared to 1 day within the realm of Geten³,

It is very short, like a dream or an illusion

This particular scene resonated with Nobunaga deeply, as he too must always prepare for death during the multitude of battle campaigns he took part in for the sake of claiming rule over Japan. As proof, it’s recorded in surviving documents that he performed the same scene within his residence on several occassions before significant events, such the night before heading out with his army to fight against Imagawa Yoshimoto at the battle at Okehazama (桶狭間の戦い, Okehazama no tatakai) in 1560.

NŌGAKU FOR THE SHOGUNATE

Nōgaku would continue to grow alongside the establishment of the Tokugawa Shogunate in the 17th century. This is due in part of the favoritism from Tokugawa Ieyasu himself, as well as continued support from the succession line of the Tokugawa family. Nōgaku was seen as a cultural property worth maintaining, thus was at one point labeled as “Bakufu no shikigaku” (幕府の式楽) as it utilized as ceremonial entertainment for events held in Edo castle for the shogunate.

As during the warring periods, nōgaku performers were commissioned to perform within Edo castle, where the Tokugawa shogun and family resided, as well as where nobles who work within the Bakufu. Their service became a standard during shogunate succession ceremonies. Along with this, nōgaku was designated for special occasions like weddings, coming-of-age ceremonies, and the like. Locations that hosted these events include the honmaru (the main grounds) where the shogun lived, and nishimaru (the western grounds) where the heir to the shogun position resides).

Artwork called “O-utaizome” or “New Year’s Noh Songs”, from the series “Chiyoda no on’omote”. Here, the Shogun and many lords from across the lands gather within the Grand Hall of Edo castle, whom present ceremonial robes as gifts to the Noh performers after they put on an excellent show for them. By Yōshū Chikanobu.

As mentioned earlier, the descendents next in line as shogun of the Tokugawa line maintained the importance of nōgaku, to the point where it became more than just for entertainment. A prime example is the 5th shogun Tokugawa Tsunayoshi, who was known for his unusually passion for nōgaku…to the point that this obsession became problematic to handle by those around him. This obsessive behavior is labeled as “nōgurui“ (能狂い). For instance, Tsunayoshi was not only enraptured with these performances, it is said he demanded these performers to put on shows during unusual situations, such as at times when he was sick. Tsunayoshi is also recorded to learn how to perform dances from the performances he watched, which was his personal preference. However, he also enforced others who were subjects of his or employed under the shogunate to learn the ways of nōgaku performances for personal development…much to their dismay.

Other famous individuals who fall under this phrase are actually well known swordmasters, such as members of the Yagyū family. Known for their swordsmanship through Yagyū Shinkage ryū Hyōhō, the Yagyū family have a long lasting relationship with nōgaku, starting with the founder Yagyū Sekishusai Munetoshi. As a sword instructor for the Tokugawa Shogunate, he was frequent in many shikigaku events at Edo castle. There, he became a good aquaintance with Konparu Shichirō Ujikatsu (金春七郎氏勝), a nōgaku performer of the Konparu style (金春流, Konparu ryū) who was also competent in the sword and spear⁴. Through this, Munetoshi incorporated principles and concepts of nōgaku into the deeper teachings of the Yagyū swordstyle. Years later, his grandson Yagyū Munefuyu would contribute to the appreciation of nōgaku by constructing a stage within the Yagyū estate, where he and others could proactively study & practice this performing arts.

NŌGAKU FOR TOWNSPEOPLE

For most of Japan’s warring periods, nōgaku was a form of entertainment only accessible to the upperclass consisting of those with military might and land ownership; basically, those with influential power could afford to devise stages in their estate or castle and accomodate such performances. This mindset continued early into the Edo periord, as important events where nōgaku would be entertainment exclusive only to the shogun, their retainers, and invited nobles. These included proclamation ceremonies for new shogun, birth of the next heir to the shogunate, weddings, ringing in the new year, and birthday celebrations.

This exclusivity would soon change shortly after the establishment of the Tokugawa shogunate in the early Edo period. In the late 1600s, the 2nd Shogun Tokugawa Ietsuna made a decree where nōgaku could be performed for the viewing of the townspeople⁵. This was called “machi-iri nō” (町入能). It also went under the title of “onō haiken” (御能拝見). As a once-exclusive pasttime, nōgaku was allowed for public viewing events, which attracted many commonfolks to attend out of curiousity, as well as to finally experience a pasttime once considered exclusive.

A 3-panel artwork entitled, “Kyū-Bakufu Gotairei no setsu Chōnin onō Haiken no zu” or “Townspeople Watching the Noh Show in Celebration of the Newly Appointed Shogun”. People from different parts of Edo gather in Edo castle to watch a Noh performance, as they hold umbrellas presented to them when they entered the castle. The Shogun, along with his retainers and other supports, are also present in a separate area. By Yōshū Chikanobu.

This 1st showing was held within the large compound of Edo castle in 1603, within the very compound where the Tokugawa Shogunate established and conducted rule over Japan. To enter this important place, townsfolks were allowed to use the main gate Ōte-mon (大手門), which was originally designated for access by lords from other prefectures. Next, they were directed to assemble in the main grounds, and sit before the performing stage near the southern garden in front of the Ōhiroma. It is recorded that this 1st public-viewing amassed a whopping 5000 people! How accurate this number is, it’s hard to confirm as fact. It’s said that while the townsfolks and other guests assembled around the performing stage, the shogun had a separate seating arrangement away in a different section alongside with his family and close aids.

As time went on, more areas around Japan established locations where townsfolks could access and watch nōgaku during major events such as festivals. This includes Matsuyama Castle in Iyo-Matsuyama Domain, and Nagoya Castle in Ōwari Domain. Castles used as locations were the most accomodating, since they generally had ample room to create designated performance stages within their grounds.

In time, as Japan steered towards modernization, nōgaku became more accessible to those who have genuine interest in this craft. No longer exclusive to a particular social class, those from the general public who enjoy theatrical performances can now buy tickets to most shows, as well as join special groups whose purpose is to support this craft, such as through offering introductory classes for learning purposes. Today, as a national cultural treasure, nōgaku is preserved through organizations such as The Japan Arts Council (日本芸術文化振興会) and Heiwa Shimin Kōen Nōgaku-dō (平和市民公園能楽堂).

CONCLUSION

We end here on this quick overview on nōgaku. Despite being a field specializing on theatrical performing arts, it was highly regarded by the elite, giving those performance troupes a lucritive career and access to interact with powerful individuals commonfolks could only dream of. Thank you for making it this far. Look forward to possible articles that delve in further into the world of nōgaku.

1) This is a 5-volume collection that contains many treaties about nōgaku, which includes tales of its mythological beginnings, methods of training, means to acquiring a wide range of acting skills, how to properly assume the roles of specified characters, and the overall stages a performer will pass through in their journey to perfect their craft. Written by Zeami, who is mentioned later in the article.

2) Sarugaku can be interpreted as “performing with the skills of a monkey”. To be more clear, the image of a monkey is that they are so clever, that they can imitate so many things. A theatrical performer is essentially doing the same thing when they take on the persona of a character or assume a role…thus the reason behind the comparison.

3) Geten (下天) is one of the 6 realms that make up the Heavenly space as told in Buddhism. This is the lowest of the 6, and is right above the human world. Time also flows differently within these upper tiers, whereas 50 days in the human world is equivalent to 1 day in Geten.

4) It is recorded that he was a practitioner of Yagyū Shinkage ryū kenjutsu and Hōzoin ryū sōjutsu.

5) There’s an exception to the exclusiveness of nōgaku. While there was the “premium” version only available to the upperclass, there was always a “standard” version. With sarugaku as a basis, it followed along earlier iterations, which were performed at temples and shrines. This would expand especially during Edo period, where such performances were done during the commemoration of successful construction and development projects, such as a new bridge. This type of public performance would then be called kanjin-nō (勧進能). The catch here is that commonfolks needed to pay some form of fee in order to properly watch kanjin-nō performances.

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Yoshitsune’s Treasure Trove of Knowledge ~ Part 2

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

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

HIGHLIGHTS OF YOSHITUNE’S TACTICS USED IN BATTLE

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

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

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

THE SECRET CONTENTS OF TORA NO MAKI

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

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

#1. Yoshitsune’s Secret Teachings on War Strategies

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

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

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

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

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

#2. The Tiger Strategy book

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

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

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

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

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

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

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

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

MEANING BEHIND USING THE “YOSHITSUNE” LABEL

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

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

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

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

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

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

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

CONCLUSION

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

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

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

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

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

5) Pronounced “Liu Tao” in Chinese.

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

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

8) Present day Katōshi City, Hyōgo Prefecture.

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

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Yoshitsune’s Treasure Trove of Knowledge ~ Part 1

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

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

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

MYRIAD OF WEAPONS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SWORD TECHNIQUES

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

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

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

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

Here’s some explanations regarding each of these techniques.

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

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

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

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

CONCLUSION

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

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

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

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

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

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

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

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

Here is the 5th part of the ongoing series on the Tenga Goken, or the 5 great swords of Japan. Each of these swords has a unique trait that defines its existence as a masterpiece in its own respect. In the case of the Dōjigiri Yasutsuna (童子切安綱), it is not only deemed as the oldest sword, but its beginnings come literally straight out of a fairytale.

Let’s take a look at its details:

A pic of the Dōjigiri Yasutsuna on display. From Wikipedia.
  • Status: national treasure
  • Maker: Yasutsuna
  • Blade length: 80 cm
  • Blade curvature: 2.7 cm
  • Blade base width: 2.9 cm
  • Blade tip width: 1.9 cm
  • Length of back of blade: 3.1 cm

There is a great amount of documentation for it over the centuries. Much of these are related to inventory reports, and various accounts by owners and their associates. Others are story-like accounts related to the sword, with some more believable than others. This high documentation is in thanks to the Dōjigiri always in the possession of some high profile groups, along with a few sword enthusiasts. Today, it is in the care of Tokyo National Museum, as it is part of their National Institutes for Cultural Heritage collection.

For this article, we’ll cover more of the relevant recordings, along with some noteworthy ones that play into the theme of the Tenga Goken.

YASUTSUNA

The swordsmith name on the sword’s tang is “Yasutsuna” (安綱). This points to Ōhara Yasutsuna, who was active in Hōki country (present-day western part of Tottori prefecture) during the early Heian period from 806 to 810. This area was known to be rich in pure iron sand, which was essential material for sword crafting. The style of crafting of the Dōjigiri also matches with the Heian period, such as the curvature of the blade. With these strong evidences, it is estimated as the oldest sword out of the Tenga Goken.

Surviving records such as Chōkyō Meizukushi (長享銘尽) point to Aimi county in Hōki country as where he was living. On paper, Yasutsuna is considered as one of Japan’s most recognized swordsmith from far ancient times.

YORIMITSU VS SHUTEN DŌJI

A drawing of Minamoto no Yorimitsu, from the 10-volume artwork collection “Zenken Kojitsu” (前賢故実), from the Edehon Database. By Kikuchi Yōsai.

The Dōjigiri’s existence is introduced to the world through a popular tale about Minamoto no Yorimitsu (源頼光) and his bravery. Hailing from the famous Minamoto line, Yorimitsu was, according to surviving records, a real person who lived from 948 from 1021. Curiously, the tales about him and his companions include mythical and superstitious events, which is not uncommon considering the times. There is one particular event where Yorimitsu must play the hero as he was tasked to slay a notorious demon, which is where the Dōjigiri comes into the picture. Here’s a synopsis of how that story goes.

In in they year of 995, the Imperial court tasked Minamoto no Yorimitsu (源頼光) with pacifying a gang of demons lead by a mighty ogre called Shuten Dōji. These criminals have done many heinous acts, including kidnapped women from villages to be eaten later. Yorimitsu set out with 4 of his most trusted retainers dubbed Shitennō (四天王, 4 Heavenly Kings)¹, and traveled the demons’ lair, which was on Mount Daie in Tanba country (present-day area between Kyōto and Hyōgo prefecture).

A woodblock called “Yorimitsu-chōshin Shuten Dōji wo taiji no zu” (頼光朝臣酒呑童子ォ退治之図), featuring Yorimitsu and the Shitennō engaging with the notorious demon gang. This scene includes Shuten Dōji tied with chains while Yorimitsu beheads him, but in a fit the head takes flight and attacks Yorimitsu. By Katsukawa Shuntei.

On their way, they met 3 wise men who gave them items that would aid in defeating the demons. This included a special wine called “shinbenki dokushu” (神便鬼毒酒), which was interpreted as a “divinely conceived poisonous wine for demons”, yet had healing properties for humans². Disguising themselves as mountain ascetics, Yorimitsu and his team were able to deceive the demons in order to gain entry into their lair, and as a thanks to their hospitality, entertained their hosts through dance and wine. After drinking the wine, Shuten Dōji and his gang fell asleep from its neutralizing effects. Seizing the chance, Yorimitsu drew his concealed sword and beheaded Shuten Dōji, while the rest of his team fought off and slew the other demons. Taking the demon leader’s head as a trophy, and freeing the captives, Yorimitsu & his crew returned back to the Imperial court in the Capital³ where they received many honors.

It’s from this episode where the name “Dōjigiri” comes from.

To reiterate, Minamoto no Yorimitsu is recorded as a historical figure who truly did exist. Was the journey he embarked on real? Was Shuten Dōji an actual demon? There are many layers to this story, and the other versions that mirror it, which would need its own article to properly analyze it.

As for Dōjigiri, it gets its name from the lore of being sharp enough to behead a mighty demon. As an heirloom of the Minamoto clan, it makes sense that Yorimitsu would gain possession of it. Yet, how and from whom the Minamoto family acquired this sword is not explained.

POSSESSION OF THE MATSUDAIRA FAMILY

After Yorimitsu, the Dōjigiri is passed into the the hands of several high profile individuals, with the first being the Ashikaga family. There is no clear explanation on how this happened, but estimated time is between late 900s to early 1000s. As an elite military family with status through the Imperial court, the Ashikaga family added the Dōjigiri to their growing collection of valuable treasures, and it would remain there for a few centuries even after their family claimed shogunate in the early-mid 1300s.

In the late 1500s the 15th shogun Ashikaga Yoshiaki gave the sword to Toyotomi Hideyoshi. A superstitious man, Hideyoshi was not pleased to keep a sword with such a history⁴. So he passed it to the Honami family for safe keeping. It’s possible that from this point the Dōjigiri was evaluated, and the name of the swordsmith was discovered. At a later date, Hideyoshi then parted with the sword as he gave it to Tokugawa Ieyasu. After becoming shogun and establishing total control over Japan, Ieyasu gave the Dōjigiri to his son, Hidetada.

An artwrk of Matsudaira Tadanao. From Wikipedia.

On a celebratory day in November of 1611, Hidetada’s daughter Katsuhime was be-wedded to Matsudaira Tadanao, a lord of Kita-no-Sho Domain in Echizen country. Hidetada gave the Dōjigiri to Tadanao as a gift in honor of their family’s unity; while the Tokugawa name was reputable at this point, the same can be said for the Matsudaira mainly due to their long established line, as well as historical connection with the Tokugawa line. The latter saw tremendous benefits, for once the Tokugawa Shogunate was established, this gave opportunities for the Matsudaira families to be positioned as lords over numerous lands. While Tadanao was bringing his land in Echizen country into this unison, Katsuhime’s family was bringing their Takada domain, which was located in Echigo country⁵.

After relinquishing his duties due to old age and retiring into priesthood⁶, Tadanao had his 8-year old son, Mitsunaga, in line to take over the the Kita-no-Sho domain. When he came of age, Mitsunaga would instead became lord of the Takada domain in Echigo country due to political issues. From this point, the Dōjigiri, along with other treasured items of his father, would be left to him.

The Dōjigiri remained as a Matsudaira treasure for several centuries, up until modern time⁷. There were a few cases where it passed into other hands, due to land ownership issues. During those cases, where it was on the land that was up for redistribution, the Dōjigiri ended up on the assets assessment lists drafted up. This made this particular sword well documented, and easily tracked. In 1933, it was appointed as a national treasure by the Ministry of Education (文部省, Monbushō) under the old system. It was also present in the Yūshūkan Sword Exhibition in 1940.

THE PRICE OF BIG SPENDING AND DEBT

Starting around the early 1940s, the Dōjigiri finally leaves the possession of the Matsudaira family, as it would get caught in a power struggle by those willing to pay a hefty price for it. This first went into motion as a Nakajima Kiyoichi had his eyes set on purchasing the Dōjigiri from the Matsudaira family. He made a request to Ishigurō Kuro, a renown sword dealer from Ishikawa prefecture, to see if he could buy it straight from the prestigious owners. At the time, Kuro made attempts, initially purchasing 2 different swords. It wouldn’t be until 1946 when he was finally successful in securing the Dōjigiri, paying ¥80,000⁸ for it. When Kuro reached out to his client to come and buy the sword from him, it seemed as if the deal was gonna go sour, for Kiyoichi didn’t have the money for it.

Reaching out to the Honami family for help, Kiyoichi used their connections to find a business man name Tamari Sannosuke, who was willing to lend money. Sannosuke paid Kuro ¥100,000 for the Dōjigiri. Having such an exclusive sword, Sannosuke relieved the flustered client from being in his debt by offering to take care of the sword. While in his possession, the Dōjigiri was re-evaluated and once again appointed as a national treasure under the new system.

In the mid 1900s, the Dōjigiri was associated to large sums of money, as individuals invested a great amount to get their hands on it. From Photo-AC.

Some drama would unfold a little later, where Sannosuke’s business went bankrupt. He made several attempts to borrow money using the sword, including transferring the sword to a Mr. Murayama for safe keeping and financial support. In 1950, a sword enthusiast named Watanabe Saburō heard about this and contacted Mr. Murayama, as he was willing to pay ¥500,000 as a lending fee, in which Sannosuke agreed. However, several months later into the new year of 1951, Saburō passed away. Sannosuke, who felt that their deal was void due to the death, reached out to the Watanabe family to send back the money and have the Dōjigiri returned to him. As this didn’t go as smoothly as anticipated, both sides would have to try and resolve the matter in court, which spanned for almost a decade.

In 1963, a resolution to end the fight over ownership for the Dōjigiri was made by a member from the Bunkazai Hogoiinkai (文化財保護委員会, National Commission for Protection of Cultural Properties), who would buy the sword completely by paying a hefty price of ¥26,300,000. This amount was split at a specific rate between ¥20,000,000 for Sannosuke, and ¥6,000,000 for the Watanabe family.

With the Dōjigiri in the possession of the Bunkazai Hogoiinkai, it was free from the bidding wars of sword enthusiasts. It was eventually donated to the Tokyo National Museum, where it can be put up on display in exhibits for the public to see.

FUN FACTS

As mentioned earlier, there is an abundant amount of writings on the Dōjigiri, some more interesting than others. While this sword has had its fair share of territorial and ownership disputes, there are a good amount of stories claiming unusual events. Then there are those that are heresay, and can be viewed as baseless rumors or fantasy. Below are a select few that give different perspectives in which how this special sword was interacted with.

1. MORE THAN ONE DEMON-SLAYING SWORD?

As with most old stories from Japan’s ancient times, there are different versions to the famed story of Minamoto no Yorimitsu and his quest to quell Shuten Dōji. The differences vary, from the names used to identify certain individuals, the appearances of certain individuals, to certain details included to give more wilder context (i.e Shuten Dōji’s flying head after decapitation). Fortunately, all these versions share the core parts, which includes Yorimitsu, his loyal followers, Shuten Dōji and his gang at their lair, and the wine that weakened Shuten Dōji enough where Yorimitsu was able to behead him with a sword.

An artwork entitled ” Ichijo Modori bashi no atari nite Higegirimaru no tachi wo motte Ibaraki Dōji no ude wo kiru” (一條戻り橋の邉にて髭切丸の太刀を以茨鬼童子の腕を斬). Watanabe no Tsuna is shown about to cut off the arm of Ibaraki Dōji as they engage in a struggle on the Ichijo Modori bridge. By Utagawa Kuniyoshi.

These differences also affect the representation of Dōjigiri, for while it sounds like this was the key item to Yorimitsu’s victory, there tends to be mentioned of 2 other swords, which are the Onigiri (鬼切) and Higegiri (髭切). Depending on the source, Dōjigiri may be omitted and replaced by one of these 2 other swords, or they appear in the same story but used to fulfill a different task. Here’s an explanation about these other 2 swords:

Onigiri – It’s name can be interpreted as, for the sake of popularity, “Demon-Slayer”. However, its full title is stated as either “Onigirimaru” (鬼切丸) or “Onigiri Yasutsuna” (鬼切安綱). It is argued that the Onigiri is another sword in Yorimitsu’s possession, an heirloom of sorts passed down his family line. In few sources the name “Onigiri” is stated as the sword used to slay Shuten Dōji. Or, that the Dōjigiri’s name was changed to “Onigiri” after the task was done. However, neither are correct. In reality, this sword exists in its own respect, as it is kept as a valuable cultural treasure at the shrine Kitano Tenmangu in Kyōto. Furthermore, the maker’s name on the sword tang is supposedly Yasutsuna, meaning that it and the Dōjigiri are siblings, so to speak.

Despite its existence, there are some oddities surrounding it, leading to questions including the legitimacy as a Yasutsuna-crafted sword. On another note, this is the same sword as the Higegiri. More on this below.

Higegiri – Its name translating as “Whisker-Splitter”, this is another sword that was wielded for the sake of pacifying demons. Origin is that it was a treasured sword of the Minamoto clan, and got its name when it was used to behead a criminal, cutting clean not only through the neck, but the hairs from his beard as well. After their task of ridding Shuten Dōji and his gang, Minamoto no Yorimitsu lent this sword to his retainer Watanabe no Tsuna (渡辺綱) as he went to investigate some troubles in the Capital. As he headed there on horseback, he encountered a woman in distress at a bridge called “Ichijo Modori” (一条通り). Watanabe gave her a hand and lifted her up to sit behind him on his horse, when moments later she transformed into a demon known as Ibaraki Dōji (茨木童子) and grabbed the warrior. A sworn brother of Shuten Dōji, he had escaped from Mt. Daie when Yorimitsu and his retainers terminated his brethrens, and was now attempting to get revenge. Drawing the Higegiri out quickly, Watanabe seized the demon’s right arm, and cut upwards, slicing the arm clean off. After this episode, its name was changed to “Onigiri”.

This sword still exists, as mentioned above, for it is at the shrine Kitano Tenmangu in Kyōto, where it is kept as a cultural treasure. Since the Higegiri is the same sword as the Onigiri, it shares the same discrepancies, as there are questions regarding the legitimacy of its story and other details.

2. OUTRANKING MASAMUNE

Towards the ending of the 1600s, the Matsudaira family who owned Tsuyama Domain in Sakushu (present-day northern part of Okayama Prefecture) gained possession of the Dōjigiri. They also owned 2 other high-quality swords, one was “Inabagō” (稲葉郷) and the other was “Ishida Masamune” (石田正宗).

A pic of the Ishida Masamune on display. From Wikipedia.

All three swords are expertly crafted and high quality. The Ishida Masamune also has an impressive backstory, especially as it is one from the famed Masamune line known for its unrivaled sharpness. Yet, when a member of the Honami family had a chance to evaluate both swords, the Dōjiri was judged to be the better sword.

3. GUARDIAN FOXES

By lore and superstition, there are creatures used as messengers of the gods known as shinshi (神使) in Japan. These creatures existed for the sake of serving or protecting things that are special one way or the other. They are said to take the form of common animals, reptiles, and amphibians, with one of the more popular one being a fox.

There is another tale from Tsuyama Domain’s Matsudaira family, which is said to take place around the same time as the one previously mentioned above. One day, the Dōjigiri was sent out to be delivered for evaluation to Honami Saburobei’s home in Hirokouji, Ueno (an area in present-day Tokyo). While crossing the Sujikai Bridge (筋違橋) on the way to Saburobei’s home, it is said that there were foxes that came out and approached the individual with the Dōjigiri. There was no interaction with the foxes, just their sudden appearance and their momentary company down the same road, until they finally made their way towards a path to Yanaka in Ueno.

The take from this story is that these foxes acted as shinshi, and came to assist in guiding the Dōjigiri safely to its destination.

4. KATSUHIME’S SAYAGAKI

Starting around the late 1500s was a practice called “sayagaki” (鞘書き) through the permission of Toyotomi Hideyoshi, with the particulars including a person writing on the shirasaya of a reputable sword that is generally placed in storage. Swords that will not be used, or to help preserve during the humid summer, have their normal fittings taken off, and are placed in a simple unlacquered wooden sheath known as a shirasaya (白鞘), with an equally simple wooden sword handle. A peculiar practice, it allowed details about the sword to be written on the sheath without the need to draw it out.

An example of sayagaki.

In 1623, the Dōjigiri was stored in a shirasaya while it, along with other properties, was under the ownership of Katsuhime until her son was old enough to inherit them. There was sayagaki on the sheath of the Dōjigiri, and it is thought to have been done by Katsuhime herself, based on the writing style at that time.

This is what was written on the shirasaya of the Dojigiri:

JAPANESE:
表　童子切貳尺六寸五分
裏　鎺元ニテ壹寸横手下ニテ六分半重子厚サ貳分

ENGLISH:
Front: Dōjigiri, measuring at 2 shaku 6 sun 5 bu
Back: There is a hole measuring 1 sun at the base of the habaki (鎺, metal collar between the sword and the hand guard), 6 1/2 bu line below the yokote (横手, line on the side of the blade between the tip and the cutting edge), with a thickness of 2 bu

There is a description about these lines and how it is judged to be written by a woman, most likely Katsuhime. However, I am not sure who made this judgement.

5. EAST VS WEST

Within Asian culture there is a rather unique labeling of 2 things that are considered equal in strength and quality. Influenced by the ying-yang theory, these 2 things stand side-by-side and represent balance, even if both objects are rivals or mortal enemies.

Amongst sword enthusiasts, there is a statement that declares both the Dōjigiri and another sword called Ōkanehira (大包平) as equals. The line goes as follows:

“日本刀の東西の両横綱”

This translates to “Japan’s best 2 swords from the East and the West”. The East-West comparison is due to the fact that the Dōjigiri was crafted in Hōki country, which is located in western Japan, while the Ōkanehira was made in Bizen country⁹, located in eastern Japan. Looking at the history of the Ōkanehira, it was made during the late Heian period by an individual known as “Kanehira”, who belonged to the swordsmith group called “Ko-Bizen” (古備前). Like the Dōjigiri, the style of the Ōkanehira is stated as exquisite, as it has unique qualities matching the era it was crafted.

The reasoning behind this assertion points to how old both swords are estimated to be, for they have survived centuries up until present day.

6. CUTTING TEST

Sometime around the ending of the 1600s during the Edo period, the sharpness of the Dōjigiri was put to the test. While the sword was still in the possession of the Matsudaira family of Tsuyama Domain, there was a request to test just how strong it was. This event was set up as a “tameshigiri”, or “test cutting”, where an attempt would be made to cut through as many human bodies with the Dōjigiri in one swing. Not an unusual practice, tameshigiri was a means to evaluate the cutting power of swords of all types, and rate them by the number of targets they are able to cleave through…with the targets being close to or being exactly that of the human body. In the case of the Dōjigiri, the dead bodies of criminals were used.

A reputable swordsman within the area by the name of Machida Chōdayū (町田長太夫), who was a renown expert at tameshigiri, was given the task of testing this legendary sword’s sharpness. At its finest moment, Chōdayuu was able to completely slice through not only 6 dead bodies in one motion while wielding the Dōjigiri, but also split in half the mat the bodies were laid on.

ENDING

A great deal was shared about the Dōjigiri and it reputation as a special sword both in application, design, and value. All of this documentation and events are what elevate it to a high-profile sword. That covers everything worth mentioning about the Dōjigiri Yasutsuna, illustrating why it is categorized as one of the Tenga Goken. Be on the look out for the last article in this series, which will be on the Odenta Mitsuyo.

1) While Shitennō literally means “4 Heavenly Kings”, in most cases it is a label reserved to 4 very strong & talented individuals. Think of it as 4 pillars to an establishment or group. For Yorimitsu’s group, these 4 individuals were Watanabe no Tsuna (渡辺綱), Sakata no Kintoki (坂田金時),  Usui Sadamitsu (碓井貞光), and Urabe Suetake (卜部季武). The other nickname commonly used is “Raikō Shitennō” (頼光四天王), with “Raiko” being the onyomi (音読み, Chinese-phonetic) reading of “Yorimitsu”. This double-reading of a name was an old practice usually done in honor of someone important or famous.

2) When drank by humans, the pronunciation of the name of this sake is the same, but instead uses the kanji “神変奇特酒” . This version of the name reads something like “mysteriously special wine of the Gods “.

3) Actually, Yorimitsu was not able to bring Shuten Dōji’s head back to the Imperial court, as it became “heavy” and unyielding on the way. This was forewarned while they passed through an area on the outskirts of the Capital that had a koyasu jizō (子安地蔵, statue of Jizō the guardian of childbirth) on the path, which warned them that no one was allowed to bring unclean things into the Capital city. It is thought that the guardian deity there caused this to protect the citizens, since Shuten Dōji was festering with germs, and it was highly possible his head would bring illnesses.

Having no other options, Yorimitsu dug up a tomb for the severed head, which would years later become the grounds for the shrine called Kubizuka Daimyōjin (首塚大明神). Consisting of a simple torii (gate), grave, and an altar, it is a small shrine where, through worshiping Shuten Dōji as a deity, all ailments the severed head was carrying has been lifted…at least, according to lore.

4) The same happened to the Onimaru Kunitsuna, which can be read here.

5) Katsuhime (勝姫) was more than a filler in the Tokugawa lineage; unlike many other women who have remained nameless, she is identified by her real name. This is due to her involvement in familial matters, which included land management and issues. Katsuhime is known under different titles during her lifetime, including the honorific title Takada-sama (高田様, Madame Takada), and her Buddhist name Tensuin (天崇院).

6) Life expectancy was low around this time, so it was not unusual for people to retire from their profession around their 40s or 50s.

7) To elaborate a little, it primarily remains in the possession of the Matsudaira from Tsuyama domain from 1698 up until modern times. Mitsunaga of the Matsudaira line from Echigo domain had a relatively long and intricately difficult time in his later years dealing with land ownership disputes with the Tokugawa Shogunate, which detracts too much from this article’s topic to go over. This also included losing ownership of treasured items temporarily, with the Dōjigiri being one of those possessions. These issues were eventually resolved while he was still alive, and he later had certain possessions, including the Dōjigiri, passed into the safe keeping of the Tsuyama-Matsudaira family line in a formal manner.

8) This, and all money values that follow are reported in Japanese yen, but not at present day’s rate. Note that there was not an official exchange rate of yen to US dollars from around the mid 1940s to early 1950s. This is primarily due to Japan’s lack of a unified currency system in society as a whole, as well as that yen was not yet part of the Bretton Woods system regarding affiliated global exchange rates. This would slowly change starting around around 1952.

Due to the lack of currency value structure for the Japanese yen at the time when the Dōjigiri was being purchased, attempts at a dollar to yen conversion will fluctuate abit, leading to possible (but not guaranteed) estimates. As a starter, the conversion rate between the mid 1940s to early 1950s would look something like $1 = ¥350 ~ ¥400.

9) This is based on the following inscription engraved on the sword, “備前国包平作” (Bizen no kuni Kanehira saku). This translates as “made by Kanehira of Bizen country”

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Tenga Goken: The 5 Great Swords of Japan ~ Part 4

The next sword from the Tenga Goken will be the Juzumaru Tsunesugu (数珠恒次). This time around, we go in a different direction in terms of how Japanese swords are viewed both physically and in application. Going the opposite direction of them being used for killing by warriors, we will explore the idea of how a sword like the Juzumaru Tsunesugu played a symbolic role in Buddhist practices. Before going over its history, let’s first review its specifications.

A snapshot of Juzumaru Tsunetsugu without any fittings or handle, from the site “Touken World“.
  • Status: valuable cultural asset
  • Blade length: 82.1 cm
  • Curvature: 3.0 cm
  • Width (base): 4.0 cm
  • Width (tip): 2.0 cm
  • Maker: Aoe Tsunetsugu

An interesting point worth taking note of is that the Juzumaru Tsunetsugu’s status is that of a cultural piece, as opposed to a national treasure. This is because, while being an intangible piece of  history with traceable history, it is neither in the possession of a national establishment nor part of an Imperial collection. Due to this, proper validation cannot be done on its authenticity. Still, its stated existence is accepted as being important on a cultural level, which isn’t an unusual thing as many historical items around Japan can be deemed as invaluable objects, yet stay in the hands of those outside of government-funded organizations and Imperial property.

Juzumaru Tsunetsugu exists today as part of the collection of artifacts at the temple Honkōji, where it can be viewed by visitors around the world.

BEGINNINGS

The Juzumaru Tsunetsugu was crafted by a swordsmith who’s addressed as  “Aoe Tsunetsugu” (青江常次). Like many others in the same profession, Tsunetsugu’s surname is unknown. Instead, he is identified by where he comes from, which was Aoe in Bitchu Province (present day Kurashiki City, Okayama Prefecture). He was a member of the Aoe group of swordsmiths, which was started by his father, Aoe Moritsugu. Taking a quick look at the Aoe group timeline, Moritsugu and his group were active from the ending of Heian period to the early term of Kamakura period (1100s ~ 1200s), where Tsunetsugu, being the 2nd son out of 3 children, took over after his father at some point. To further bolster up his resume, Tsunetsugu was commissioned as the sole blacksmith by the Imperial palace to craft swords during 82nd Imperial successor Emperor Gotoba’s reign…but this should be taken with a grain of salt, as there were other blacksmiths who were utilized by the Imperial court as well.

After being brought to life by Tsunetsugu, the Juzumaru Tsunetsugu, or Juzumaru for short, was the property of the Buddhist temple Kuonji throughout most of its documented history.  Its tie-in with Buddhism is key to the name “Juzumaru”, which there are are 2 symbolic meanings behind this. The first is the idea that “juzumaru” stands for the salvation of people from suffering, which is connected to the practice of the Buddhist sect Nichiren. The 2nd deals with the sword’s design, as at one point its handle was adorned with jewels in the likeliness of prayer beads, which are called “juzu” in Japanese¹.

ORIGINS THROUGH NICHIREN

Sources regarding the Juzumaru vary abit, but lead to the same point as to being part of the Tenga Goken due its splendor in craftsmanship. One particular source, known as “Shōchuu Tōken Meibutsuchō” (詳註刀剣名物帳), recounts its origin through the life of Nichiren, which goes as follow:

To the left, a statue honoring Nichiren, while to the right is “Founder’s Hall” (祖師堂, Soshidō), one of the buildings of Kuonji where Nichiren is worshiped.

In the past, many travelers feared traversing the paths that lead through the woods and mountains, as it was common knowledge that bandits laid in wait around those areas. Despite this, the saint Nichiren² planned to set off by himself to explore Mt. Minobu in Kai Country (present day Yamanashi Prefecture) during the early 13th century. Despite arguments from loyalists to dissuade such a dangerous journey, Nichiren would not listen. In order to ensure his safety, a sword from a country warrior living around the southern part at the base of the mountain was given to him. Nichiren accepted the sword and, before ascending Mt. Minobu, wrapped prayer beads around the sword handle, symbolically to ward off ill fortune.

Like a miracle, Nichiren was able to climb up and explore the mountain danger-free. Furthermore,  it is said that there was enough supplies within the surroundings on the mountain where he could devise a thatch hut as a place for slumber and to protect him from the elements. After some time, the temple Kuonji, which would become the grounds of the Nichiren sect, was established on Mt. Minobu. It is also written that the sword Nichiren brought with him during his journey was later examined by Honami Kōhō, one of the descendants of the family-run sword evaluation who was also a devout of Nichiren teachings. He was able to identify it as the product of Aoe Tsunetsugu, a renown swordsmith. With that, this sword gained the name  “Juzumaru”, and became a symbolic, treasured item of Kuonji temple and an asset to Buddhism.

More or less, this tale summarizes Juzumaru and its ties to Nichiren’s establishment of his own Buddhist sect. It is considered to be one of 3 keepsake relics of Nichiren after his death, with the other 2 being a his robe and a ceremonial folding fan. Being a Buddhist sword, it’s no surprise that it was not used for physical combat. Further evidence of this is the sword wasn’t even sharpened, but instead it’s edge was dull. This does open up some questions, such as the original purpose of the sword itself. Was it meant for self defense through fighting off bandits in the mountain through mortal combat? Since Nichiren wasn’t a warrior himself, it would go against the social caste during those times to arm a priest with a live sword. Maybe the idea of “self defense” was more of a sword that acted like a ward against ill fortune, thus the reason why the Juzumaru wasn’t sharpened.

Still, let it be known that an unsharpened sword is not unusual. In the past, along with arming warriors with sharp swords, it was not uncommon for swordsmiths to also make ceremonial swords that were unsharpened for non-combative purposes. Symbolically they “eliminated” ill fortune or evil spirits by “cutting” them down in order to ensure life proceeds correctly in the name of justice. Such a concept stems from Buddhism, which is defined by the phrase “hajakenshō” (破邪顕正).

BENEFACTOR OF THE JEWELED HILT #1

As mentioned before, “juzu” means prayer beads. It can also stand for jeweled beads, for beads made out of fine jewel stones represented great value and status in Japanese culture of old. Outside of the abridged “base” story of how Nichiren obtained the sword Juzumaru, there are other sources that can fill the blanks regarding Nichiren’s life up until the establishment of Kuonji temple. However, when it comes to this sword with its unique jeweled hilt, there are fewer sources to turn to. To be specific, there are 2 different versions that give their own take on who contributed to Juzumaru earning its name through the adornment of jewels on the handle. Here’s the 1st version.

There was a supporter, a benefactor of sorts who was Hakii Saburo Sanenaga (波木井三郎実長)³, a notable nobleman of the Imperial Court. A land owner within Kai Country, he became a follower of Buddhist teachings through Nichiren’s preaching around Kamakura. He was a strong supporter of his Buddhist teacher, from the start of his ascent up Mt. Minobu, to the establishment of Kuonji temple. Sanenaga continued to contribute to Kuonji temple after Nichiren’s death, which includes having the Juzumaru adorned with jeweled beads on the hilt.

A example of prayer beads, which is the likeliness the jewels fitted on Juzumaru’s sword handle was described to be. From Photo-AC.

Sanenaga appears to have been greatly involved in both Buddhism and the development of Kuonji temple per what is mentioned in remaining documentations. Thus, this version is considered factual for the most part. One can look at his involvement in having jewels adorned on Juzumaru’s sword handle a parallel to when Nichiren wrapped prayer beads around the sword handle during his journey. Along with it having an unsharpened edge, this majestic look of jewels in the form of prayer beads fit with the ideologies of Buddhism, thus adding to Juzumaru’s supernatural status, as well as netting it the nickname “Hajakenshō no ken” (破邪顕正の剣).

BENEFACTOR OF THE JEWELED HILT #2

There’s another take on a different individual who may have contributed to Juzumaru’s jeweled hilt it’s famous for. This second claim is through Hōjō Yagenta (北条弥源太), a warrior from a related branch of the Hōjō clan. The source of this information comes from personal writings by Yagenta known as ”Zenaku Nitō Gosho” (善悪二刀御書).

Living in Kamakura, he was one of many followers of the Buddhism teachings of Nichiren. When Nichiren declared his departure from Kamakura and going into isolation, Yagenta provided him with a daisho (大小), which is a long sword & short sword set, 3 months before his journey up Mt. Minobu. These swords were no simple items for mere self-defense, but were specially crafted to aid Nichiren in warding evil spirits which were to be (ritually) slain by these blessed blades. As one would guess, the long sword is said to be Juzumaru.

There is a little more to this version, which comes in the form of  details pertaining to sword descriptions of this long-short sword pair. This description is taken from a documentation called “Fuji Daisekiji Meishoshi” (富士大石寺明細誌), which pertains records from a Buddhist temple Daisekiji in Shizuoka Prefecture.  The sword descriptions (both original Japanese and my English transliteration) go as follow:

A digital version of ”Fuji Daisekiji Meishoshi”, with the sword descriptions presented in the red box. This can be viewed on the following website here.

JAPANESE
①
太刀　三条小鍛冶宗近作　二尺一寸　一腰
　蓮祖の所持諸弘通の節之レを帯す、北条弥源太殿より之レを献ず
　

②
劔　久国作　九寸五分　一口
　蓮祖弘通の節笈中に入る

ENGLISH
1)
Long sword / Crafted by Sanjō Kokaji Munechika / 2 shaku 1 sun / single sword⁴
From Hōjō Yagenta, this was given to the saintly Nichiren, who wore this at his hip during his  journey to where he would find his new home

2)
Sword (short) / Crafted by Hisaku /  9 sun 5bu 　/ single blade⁵
A sword part of the sacred items carried during Nichiren’s journey

There are a few points to unravel to get a clearer narrative. The 1st description is interpreted as Juzumaru being crafted by the famous Sanjō Munechika, while 2nd description speaks of the paired short sword being crafted by Hisaku from the Awataguchi clan. Hisaku was of a line of swordsmiths that predates Munechika, but they were apparently good friends⁶. On top of that, it is said that they were commissioned as official blacksmiths by Emperor Gotoba during his reign. Hōjō Yagenta, being a supporter of Nichiren, was made aware of his Buddhist teacher’s intended journey, and supposedly made preparations by commissioning a long sword be made for him by Munechika. As an extra, Hisaku also crafted a short sword, most likely from the same material. Yagenta was able to present this long and short sword set to Nichiren 3 months before the journey.

It’s safe to say that this story varies differently from the first version mentioned earlier, which raises many puzzling questions. The 1st point of concern is by whom hands Juzumaru was created by. Most sources state that Aoe Tsunetsugu is recorded as swordsmith who crafted Juzumaru, as his name can be verified to be on the tang of this same sword. Why the inconsistency here? Sanjō Munechika can be considered to have more claim to his name than Tsunetsugu, so attaching Juzumaru to him would play into the splendor of this sword. Could it be that in documenting the sword descriptions that the smith’s name was interpreted incorrectly? Or, if a sword by Munechika commissioned by Yagenta truly did exist⁷, it is possible that it was completely different from that made by Tsunetsugu. Maybe this “other” sword is mistakenly thought to be the Juzumaru. It is also a possibility for someone like Nichiren to have had several swords made for him as a form of protection on his journey up Mt. Minobu. The question here is would he have carried with him this multitude of swords? Most likely not, unless he had company to assist with such load.

The 2nd point of concern is Juzumaru being part of a long & short sword set, with a short sword crafted in the same liking as it. There are no records or surviving evidence that it was accompanied by a shorter sword…at least one by Tsunetsugu. While the idea of another great swordsmith like Hisaku crafting a pairing short sword to the Juzumaru does sound cool, it literally gets no mention outside of this version of the story. On top of this, there are no traces of this short sword, for it has yet to have been discovered.

Taking all of these aforementioned points into consideration, the consensus is that this long-short sword pair from Yagenta does not fit with the general take on Juzumaru’s origin, if the details themselves are factual at all. On one hand, this long & short sword set may have been completely different, but mistaken to be that of the legendary sword. It’s also possible that Nichiren was gifted with these swords, but didn’t take it with him on his journey? On the other hand, the entry about the sword details in the aforementioned documentation from Daisekiji temple doesn’t mention the name of the long sword, so blame should not be shifted here, but from any other sources that points to it being the one & only Juzumaru.

OTHER ADORNMENTS

Along with the jeweled hilt that resembles prayer beads, Juzumaru is described to have also been decorated with quality fittings. Early in this article, it was mentioned that the sword evaluator Honami Kōhō had examined this sword and judged its value. There is a document called “Kyōhō Meibutsucho” (享保名物帳), a record of antiquated swords, that mentions Kōhō also donated fine quality sword fittings, which were labeled as “Kōhō monozuki no koshirae” (光甫物数寄の拵). Apparently, these consisted of metallic components with a motif of renge (蓮華, lotus flowers) etched on them. The choice of renge, or lotus flowers, is most likely due to the deep connection this flower has with Buddhism, as well as the Lotus sutra recited in the Nichiren sect. It is also noted that Kōhō had donated these sword fittings sometime in the 1600s of early Edo period, which was centuries after the Juzumaru was crafted.

The section from the 1857 edition of “Kyōhō Meibutsucho”. The words “Juzumaru” and “Kōhō monozuki no koshirae” are highlighed by red lines as reference.

While Juzumaru is described as a well-adorned sword, these descriptions are only found on paper. Unfortunately, much of the adornment that were claimed to once have decorated this sword are currently not on the actual sword. This includes the prayer beads and the jewels fitted on the sword handle. The reasoning can be viewed from a couple of angles, the most suitable one is that these adornments were stolen. It’s highly possible that they were removed from Juzumaru for personal gain, which could include netting a high price to those who would buy them. Why would anyone want to purchase adornments that belong to a legendary sword like the Juzumaru? The simplest answer is that most people never heard of this sword, let alone have seen it unless they’ve made a trip to Kuonji temple, so any prospective buyer wouldn’t know the source of the fittings.

Another question would be as to when and how these adornments were removed from Juzumaru. While there are no solid answers to this, the following below will put this all into perspective.

FATE OF THE JUZUMARU

Stories about this legendary sword indicate that it’s synonymous with the Kuonji temple for centuries since Nichiren set out on his journey. However, an unusual incident happened where the Juzumaru was nowhere to be found sometime in the early 1700s; at a time, scholars and researchers alike could only go based on the writings about it, which painted a picture that it once existed. Why was it no longer at Kuonji temple? Was it stolen, or sold to support the temple? This point is still unknown⁸.

In 1919, a notable sword researcher named Sugihara Shōzō (杉原祥造) from Amagasaki city in Hyōgo prefecture, traveled around Japan studying the many swords that have survived, as well a purchasing those that were of antiquated value. One day, he discovered the Juzumaru at an auction house in his hometown, where items of aristocratic and nobility were sold to the highest bidder. Shōzō bought it and put notice to this discovery, as it was then reported in newspapers. What happens next is quite interesting, for he headed to Honkōji, the nearest Nichiren-sect temple in his hometown, and donated the sword there for safe keeping.

A picture of Juzumaru present-day, with no sword fittings, on display at Honkōji temple. This is from Amagasaki City website.

Why not return the Juzumaru to its original home at Kuonji? Speculations include that Shōzō had conflicting thoughts regarding Kuonji actually having possession of this particular sword in the first place, or if it was a fabrication all along. What was most important to him was to return this sacred relic to the rightful environment it belonged to, which was that of a Buddhist temple.

About a year later, Juzumaru was declared a former national treasure by Japan’s Ministry of Education and Culture under the following description:

Japanese

丙種　刀劍
太刀　銘恒次（数珠丸）　一口
兵庫県尼崎市別所村　本興寺

English

3rd class / sword
Long sword / sword name Tsunetsugu (Juzumaru) / single blade
Honkōji / located in a forest in Amagasaki city, Hyōgo Prefecture

in 1950, it would once again be re-evaluated by the Agency of Cultural Affairs, and be declared its new status as it now viewed as an important cultural property⁹.

ENDING

We come to a close on this treasured sword called Juzumaru Tsunetsugu. While it may never had tasted the impact of another sword on any of Japan’s numerous battlefields, the tales of it protecting a saint as a ward on his journey to establish his own Buddhist temple, as well as symbolically aided in the rituals performed there is the support that elevates this sword to the high recognition it holds now. Stay tuned for part five of the Tenga Goken series, which will feature the next sword known as Dōjigiri Yasutsuna.

1) While a minor topic, there has been a small debate in regards to this sword’s naming convention. While popular choice of kanji combination found in documents is “数珠”, there appears to be some that use “球数” instead. While both essentially mean the same thing, which is prayer beads, the former is the proper name, while the latter usually relates to the number count of the beads. It’s also not certain if the pronunciation would stay the same or switch to “suju” if the latter was the proper name. At the end of the day, the former, along with “juzu” is what sticks.

2) Saint Nichiren (日蓮上人, Nichiren Jōnin) can also be read as “priest Nichiren”, as he was a Buddhist priest. He was an actual person who was a scholar of Mahayana Buddhism, then declared his own version based on the same teachings, especially on the Lotus sutra. His climb up Mt. Minobu was actually due to self exile, for Nichiren faced many hardships (including imprisonments and banishment) for the sake of spreading Buddhist teachings, followed by depreciation by the government even after proving his teachings are of great value to the whole of Japan due to coincidental predictions of foreign invasion. 

3) Also known by the saint name “Hakii Nanbu” (波木井南部).

4) The term “hitokoshi” (一腰) is another counter used for swords. This one is unique, as it identifies a sword that is slung at the hip, which is normal practice by warriors alike. Since this is a specialized counter, note that any swords not slung at the hip would most likely be identified by a different counter.

5) Just like hitokoshi, the term “hitokuchi” (一口) is another unique term not just for swords, but for bladed objects as a whole. In this case, a sword with a particular pattern along the blade near the edge identified as a kiriguchi (切り口) are referenced by this counter.

6) The two swordsmiths had a good relationship probably because they come from the same area in Japan, which was Yamashiro Country at the time. This area is now presently known as the southern area in Kyōto.

7) There was a police report of this “other” sword being stolen at night from a storage house (guessing at Kuonji temple?) in June of 1940. Apparently the lock was smashed and various valuable items, including this sword, were taken. However, there are some oddities to this claim, the main one being it was disclosed later to the police that this sword, along with other like items, was noticed to have been missing since April of the same year. Not much is known with this case afterwards.

8) Interestingly, there are a couple of documentations that mention the Juzumaru being relocated outside Kuonji temple for safe keeping at a time. However, in these cases this supposedly happened much earlier before the sword’s inevitable disappearance in the early 1700s. On top of this, those documentations are considered to be like diary entries, so they cannot be viewed as factual, especially since such records are also not found in Kuonji temple.

9) The page where the Juzumaru is listed on the Agency of Cultural Affairs can be found here.

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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 him³.

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 cm⁴, was crafted by Sukesada, a famous swordsmith⁵, 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) 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.

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

5) 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.

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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 of 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). Depicted here is Nitta Yoshisada who is wielding 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”, either; as long as its core lessons weren’t changed, this can still ve viewed as genuine as when it was 1st conceived. 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.