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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 Dojigiri 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.

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, because it comes from the lore of being sharp enough to behead a mighty demon, is where it gets its name. 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 layer, 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 wooden sheath with an equal 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 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 tipe 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”, which 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 festered 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 with 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 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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2024 Zodiac: Year of the Dragon

It’s 2024! Happy new year! What better way to start than with a post about what Zodiac year is upon us? As stated in early reports, the next sign is the dragon, making 2024 the year of the dragon (辰年, tatsudoshi in Japanese). A mythical creature from lore, it is extremely popular in pop culture due to its strong symbolism of power. Let’s take a look at the dragon sign’s specifics, and how it was used in the past:

  • Zodiac number: 5th sign
  • Zodiac character: 辰
  • Pronunciation: tatsu
  • Animal/creature: dragon (竜/龍, ryū in Japanese)
  • Direction: around south-east
  • Time: Around 8 am / within the 2 hour period 7 am ~ 9 am
  • Month: 3nd (based on the old calendar)
  • Ying/Yang: yang (positive or light)
  • Element: Wood (木)

The dragon is the 5th creature of the 12 Zodiac animals, and falls on the 5th year of the current Zodiac cycle (十二支, Jūnishi in Japanese). The Zodiac system played a significant role in Japan’s society in the past, both symbolically, systematically, and in practical applications. Today, this dependency is not as pronounced due to the modern direction driven by technology society is headed. However, classical rituals & practices such as the Zodiac calendar help keep these ancient lessons alive.

WHAT THE DRAGON SIGN REPRESENTS

Most people who are familiar with Chinese characters would write “龍” or “竜” to represent the dragon sign. However, in reality the character “辰” is the correct sign used in the Zodiac calendar. As mentioned in the other articles that are on the same topic here on Light in the Clouds, the only connection the Zodiac sign has with dragon is pronunciation; when the idea to make it more accessible to the common folks by having a particular creature represent each sign is when the dragon image started to be used.

A creative design of this year’s sign, “tatsu”. From illustAC.

So what is the actual meaning of this year’s sign? Let’s look at what the Chinese character “辰” actually means. The pronunciation of this sign is generally “tatsu” when related to the Zodiac, and its meaning is defined as something shaking or waving¹. This understanding comes from research from classical documents such as “Kansho Ritsurekishi” (漢書 律暦志), an ancient manuscript on Chinese Astrology. This connects with the overall theme of the Zodiac system and its imagery of the cycle of plants growing, where this sign represents a bud that is extending upward from its seed out through the ground, vibrating with life as it takes the shape of a plant.

A popular phrase describing this year used on Japanese sites is ”陽気が動いて、万物が振動しながら活力旺盛になって大きく成長する年”, which translates as “a year to grow healthy & prosper with vitality, as everything in life is blanketed in the flow of positive energy”². This goes hand-in-hand with what the tatsu character expresses for the new year.

FORTUNE FORECAST FOR 2024

Out of the 12 Zodiac animals, the dragon is a mythical creature that has abilities that are far more extraordinary. This plays a part in the type of energy forecast that goes into each dragon year. For this year, the energy of the dragon is positive. Due to this, it is predicted that good fortune awaits everyone in every endeavor they uptake, with positive results being evident with each step in the process.

Those of the dragon sign are viewed as energetic, powerful, and have great vitality³. These individuals are viewed to be destined to achieve great things, including being competent leaders. However, it is also stated that they have a short temper, and to cross individuals like these can bring unwanted trouble. A phrase that best describe this personality is “gekirin ni fureru” (逆鱗に触れる). Full interpretation is “do not touch the scales under the dragon’s throat, lest you want to face its wrath”. We can relate this to angering one’s boss, or a dangerous individual like a gangster, or even our parents. However, this year is viewed as an especially good year, so people of the dragon sign will be less prone to throwing fits.

ADDITIONAL SIDE TO THE ZODIAC YEAR

As mentioned in other articles, the Zodiac calendar isn’t only made up by the 12 Zodiac signs. Now let’s turn to the 10 Stems (十干, Jikkan in Japanese), which also plays a role in the Zodiac calendar. This time around we get “ki-no-e” (甲), which is a character that stands for “shell” or “hard covering”. A commonly used character, it’s usually associated with words that describe something hard and gives fortified protection, such as armor. For a seed, this fits perfectly as well.

There is another meaning for ki-no-e in relations to the auspicious nature of the Zodiac system. Here, it represents a seed, but not interpreted in its physical appearance. Instead, the idea of the seed represents growth, which perfectly aligns with the forecast of this year.

OLD DRAGON SAYINGS

The dragon symbolism is very strong in Asia. On a cultural level, its influence can be seen in almost all walks of life in the past, especially in conversations. It is not unusual to hear phrases and expressions of all types that make reference to this creature to communicate a concept. As one can imagine, there are plenty of interesting old sayings using the dragon in Japanese.

A woodblock print entitled, “Bunji sannen Ōshū Takadachi Gassen Koromogawa yori hakuryū ten e noboru” (文治三年奥州高館合戦自衣川白竜昇天). An auspicious depiction of a white dragon rising up from the Koromo river during the Battle of Takadachi in 1187. By Utagawa Yoshitsuya. From the digital archive of the Shizuoka Prefectural Central Library.

The following are a few examples of dragon-inspired old sayings. I will include the Japanese text and its literal description, followed by its interpreted meaning and further explanation.

・ Ryū no hige wo naderu (龍の鬚を撫でる, stroke a dragon’s whiskers)
MEANING: Don’t awaken the beast! Don’t go looking for trouble there.

Dragons are known as wise and powerful creatures. At the same time, they can easily come to a wrathful behavior if bothered. Touching their sacred hairs (to steal) is considered suicide; even just coming face to face is risky, as it’s advised to leave asap if possible. This old saying is to caution a person to refrain from doing something that will get them into trouble.

・Ryū no hige wo ari ga nerau (龍の鬚を蟻が狙う, an ant will seek the whiskers of a dragon)
MEANING: Those in a weaker position will take the risk to rise to a greater status

This phrase refers to when you want greater power to achieve a goal. It uses the idea of a dragon’s whiskers being special, and that anyone would seek it to gain great fortune, including a tiny ant. As an example, when an inferior person seeks to surpass a superior person.

・Ryū no agito no tama wo toru (龍の頷の珠を取る, steal the jeweled orb from the dragon’s territory)
MEANING: Getting involved in something very difficult

This is a phrase used when someone’s embarking on a risky/dangerous task. It’s similar to the first old phrase mentioned above, where one risks their life to obtain a valuable jeweled orb dragons are rumored to possess by trespassing into their lair. You can say it has the same usage as another popular phrase that incorporates the tiger⁴, the sworn rival of the dragon.

・Ryū gin sureba kumo okoru (龍吟ずれば雲起こる, when the dragon bellows, clouds stir up)
MEANING: When in need, you will attract the right people

An interesting one, this has a meaning of meeting the right people who will be beneficial to you. In a folklore-type example, it is like when a hero sets out on a journey, they have the tendency to run into like-minded people that will eventually join them. This is applicable to almost any type of scenarios, such as when starting a new business.

・Ryū no mizu wo euru gotoshi (龍の水を得る如し, like a dragon in water)
MEANING: Gaining more resources to accomplish greater things

Dragons are said to have a natural connection with water and its many forms in nature. This includes clouds, rivers, rain, and waterfalls. When a dragon is in its element, so to speak, it can demonstrate its power at greater folds. This phrase plays on the idea of gaining something to do even better. It can be anything that can grant an individual more success.

CONCLUSION

We end this article with a look at the start of the year. Here’s hoping that the 2024 forecast comes to fruition. There’s much history behind the lore of dragons, most of which couldn’t make it into this article. At a later date, there are plans to publish a few more articles related to the dragon theme, so look out for them.

1) Some things to point out is that this character is pretty old, and isn’t formally used that much outside of ancient practices like the Zodiac. While in older documentations, the idea of its meaning to shake or wave is evident, but nowadays this character is outdated and is not used in this manner. In modern dictionaries it is not unusual to see “dragon” as one of its meanings, which is based on its (limited) usage in present day.

On another note, “tatsu” is more of a Japanese phonetic. The Chinese phonetic is “shin” (chén in Pinyin), and is another way of reading this character. Since “tatsu” is another phonetic for “dragon” for both the more familiar Chinese characters “竜” and “龍”, this just makes it easier to connect this to the Zodiac character “辰”…at least in Japanese.

2) It must be stated again that this is just a prediction, one made a few months in advance before the New Year. In reality, we hope for a healthy and positive year, but we must also accept that there as already been fatal tragedies all around the world, where in some cases happened on New Years day.

3) There are more traits, but for this article I will focus on the ones that come up the most in relations to the Zodiac sign.

4) You can find it in the following post 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 weilding the Onimaru Kunitsuna in a difficult battle. Created by Tsuchiya Koitsu. From Wikipedia.

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

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

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

THE VALUABLE TREASURE MANY REFUSED TO TAKE IN

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

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

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

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

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

ENDING

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

1) This is also the shorthand name for the sword

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

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

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

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

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

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

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The Wild Source behind the True White Rabbit of Inaba

Staying true to the rabbit theme for 2023, here’s another article that is related to the story “White Rabbit of Inaba Country”. The original story, along with analytical tidbits, have been covered already. Now, let’s take a turn in a different direction with it.

As mentioned in a previous article, there are speculations that tales like “The White Rabbit of Inaba Country” are more of a fantastical re-write of true events. I’ve come across a couple of discussions about what those true events could be, but the one that caught my attention the most is one that is fitting of an action film.

Snapshot of the origin story behind the folklore “White Rabbit of Inaba Country”, as it appears on the Hakuto Shrine’s website.

While visiting the website for Hakuto Shrine (the shrine located in Tottori Prefecture where the god that is revered there is indeed the White Rabbit) and viewing the mythology page¹, one can find the story about the White Rabbit that fits the same narrative that most are familiar with straight from the historical source called the Kojiki. However, there is another story below it that is claimed to be a true event that took place centuries ago in Japan.

THE NAVAL BATTLE BETWEEN SHIRO-USAGI AND WANI

This story below was passed down for generations by the chief priests, as they would be the ones to refer to in regards to the real meaning behind the popular folklore. I’ve included the original Japanese text, and beside it my English transliteration.

It is said that the name “shiro usagi” (white rabbit) from the famous book Kojiki was related to a highly prestigious clan that controlled a particular area during the age of folklore, and was not truly referencing an actual rabbit that lived in the wild.  This clan was peaceful by nature with their neighbors, similar to actual rabbits, which is the reason why they were nicknamed Shiro-Usagi.

Specializing in sea fare, the Shiro-Usagi clan sailed close to the islands of Oki and engaged in battles against bandits that were terrorizing the coast, who went by the name “Wani”, meaning “Shark”².

During the last battle with the bandits, members of the Shiro-Usagi clan suffered grave injuries. Fortunately, they were rescued by the god known as Ōkuninushi no mikoto³. Later, they worked hand-to-hand with Ōkuninushi no mikoto in order to dispel the Wani force, and bring order to the islands. It’s also said that the Shiro-Usagi clan allowed Ōkuninushi to take Yagami-hime to be his wife.

Here is more information regarding this battle, which is found in the a publication from Tottori Prefecture called “Tottori Shinpō” (鳥取新報), which was issued sometime in November of 1920.

The White Rabbit clan, ruling over the area near Tottori Prefecture, went to battle against the massive force of the Wani at Oki islands.

The Wani were a wild bunch of seafarers who caused havoc around the ocean of Japan.

It is written that the gods of the White Rabbits employed a strategy against the Wani called “Line up the Wani heads, now jump!”. It’s noted that fireworks were used to push the large force of the Wani to be grouped together, which is described as “line up their heads”.

These circumstances of the battle, as written in the Kojiki, is very interesting.

The Wani grand fleet fought the White Rabbits ruthlessly as if they were nothing, as they were pushed from Oki islands all the way to Keta Front. In the end, the Wani bested the Shiro-Usagi, as they were left bloodied from the superior assault from the sea bandits.

Seeing their opponents in their defeated state, the Wani army let out a battle cry, then withdrew from the battle area.

The last sentence written is “As our clothing has been ripped from our backs, this is the last we see of the Wani force”, which is similar to the description of the white rabbit losing his fur in the Kojiki.

Guess we can image that they were beaten near the brink of death, similar to the state in which the divine white rabbit after first reaching Inaba Country.

In the end, the surviving members of the White Rabbit clan recovered, and, with the help from Ōkuninushi no mikoto, chased after the Wani force and defeated them from good, ridding them from the area…or so it’s said.

ANOTHER LAYER TO THE REAL EVENT

If we take the story above as fact, then that means that the folklore from the Kojiki is coded for an actual navel battle between a reputable clan and sea rogues…as so recorded at Hakuto Shrine in Tottori Prefecture. Yet, the story does not end here. Apparently, this naval battle is coded yet again, with the original bearing a much more robust details, and intertwining parties involved.

A map depicting the conflict between the Baekje and Silla in Ancient Korea in the mid-600s. From Wikipedia.

On the blog, “Shinwa wo kagaku suru tanbou“, there is a discussion regarding the naval battle version spoken about above, and how there’s yet another theory about it being a coded tale for an actual historical event. This theory states that this historical event is known as “Battle of Baekgang” (白村江の戦い, reads as “Hakusontou no Tatakai” in Japanese), which is a true event that took place in old Korea in the year 663. Historical data reads this as a civil war between surviving clans of the ancient south-western kingdom of Baekje and their eastern neighbors of Silla. The groups from Baekje were supported by a Japanese force, while those of Silla found support in the form of troops from the Tang Empire of China. This battle took place both on on land & sea, with the masterful naval prowess of the Baekje at the forefront, later supported by the naval crafts of the Japanese. while the Tang Empire did the same for their side.

The naval battle story found in Hakuto Shrine parallels this Battle of Baekgang, with the Shiro-Usagi clan representing Baekje/Japan alliance (ie. the native clansmen), while the Wani force represents the Silla/Tang alliance (ie. the raiders). Of course, this particular event takes place at the end, with much more content found years before. In a similar fashion, the Baekje faced near annihilation at the hands of the rivaling army in their own homeland of Baekje, which first happened in 660. To their saving grace, survivors that fled south were able to find a glimpse of hope by the last Baekje ruler, Prince Buyeo Pung, who at the time found refuge in Japan. As the beaten Baekje warriors recover, and bolster their strength once again, a large Japanese naval fleet was sent out to assist in helping them continue the fight with the Tang army in the former southern city of Ungjin County (located present-day Gongju) on the Korean Peninsula. A few years later, in 663, the Baekje/Japanese force set out for their final battle in southern Baekje with the Tang army in the form of 5 naval face-offs.

As a reminder, this is just speculation for the origins of the “White Rabbit of Inaba Country”. In truth, there is more content regarding the struggle for power between the people of Baekje and Silla that prevents it from being a simple cut-and-paste in the form of a fairy tale, while the outcome found in history is different even the coded version of the tale (hint: the Baekje/Japanese force lost all 5 naval battles, which ended the survivors of Baekje completely). From what I understand, there is no strategy related to “lining up the sharks’ heads” used by the Baekje/Japanese force, although the Japanese naval fleet took the most casualties at the end, which included many of their ships being burned down.

FINAL THOUGHTS

This concludes our look at this wild take on a popular folklore. I’ve only introduced one theoretical take on this, for while there are more, the idea of a naval battle is the most interesting in my opinion. Like anything based on theory, the connection to a war that took place in Korea which the Japanese was also involved in isn’t a perfect one, especially the reasoning why, if the connection is true, it had to be re-written in a folklore that give no indications to the history behind it. Nonetheless, the coded version is pretty wild & exciting with its more pro-nationalistic theme and mythological image that is portrayed.

1) Currently, the website is down. Interestingly, I was able to visit the site a few times this year, but now this is no longer the case.

2) It’s been considered that the ancient use of the Chinese characters “和爾” is a reading for the sea creature “shark”, as well for “crocodile”. To stay consistent with the accepted viewpoints regarding the Kojiki, I will use the shark term.

3) This is another name for Ōkuninushi no kami (大国主神), as used in the articles here and here.

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Deciphering the Story “White Rabbit of Inaba Country” ~ Part 1

In accordance to this year’s Zodiac animal theme, I’ve looked into stories from Japanese folklore that deals with a rabbit and its inspiring traits. I’ve decided to go with a classic known as “Inaba no Shiro Usagi” (因幡の白兎, White Rabbit of Inaba Country), one that is found in one of Japan’s oldest literature named “Kojiki” (古事記) . While deemed on the mythological side, the Kojiki is a valuable source that is tied to the Imperial line and is integral to Japanese culture, as some aspects of it is thought to tell of real-life social events, albeit coded. As for Inaba no Shiro Usagi, originally it is not a stand-alone tale in the Kojiki, but has since been sectioned out to act as a folktale for little kids since modern times. While it is a simple tale about a white rabbit’s journey, take note that it is driven by past spiritual and superstitious views & beliefs, so there are a bit of hidden lessons to be found, which some will be covered in a follow-up article.

Image of a rabbit jumping, an essential skill used in the story “Inaba no Shiro Usagi”. From Illust-AC.

The original text found in the Kojiki is written in very old Chinese-structured Japanese, which makes it a challenge to read even for native speakers. Plus, the writing was much shorter and concise. Fortunately, there are numerous publications of Inaba no Shiro Usagi that feature updated, easy-to-read Japanese text that are also fleshed out to capture the full picture of the events in the story, which expands it a good deal. The version that will be used for this article comes from the following site.

For presentation, the Japanese text will be retained, and will be followed by my English Transliteration.

昔々、隠岐の島に住む１匹の白兎が、ある姫神に会いたいと思い因幡の国へ行きたいと考えていました。しかし、隠岐の島と因幡の間は海でとても自力では渡れません。

そこで白兎はワニザメをだまして向こう岸に渡ろうと考え、『ワニザメさん、君たちの仲間と僕たちの仲間とどちらが多いか比べてみようよ』と提案し、 ワニザメを因幡の国まで並べさせ、その上をピョンピョンと渡っていきました。

A long time ago, there was a single white rabbit on an island called Oki. He wanted to go to Inaba Country, for he wanted to meet the Goddess there. However, he had no means to do this, for there was a vast sea between Oki island and Inaba Country.

As a resolution to his situation, the white rabbit had an idea about tricking some sharks and using them to cross the sea. He called out to a shark and proposed the following,

“Hey shark, let’s compare who has more companions, me or you.”

The white rabbit then had the sharks line up all the way to Inaba Country, and was able to cross the sea by jumping nimby along the top of their backs.

そしてもう少しで向こう岸に着こうというとき、あまりの嬉しさについ、『君たちはだまされたのさ』と言ってしまいました。 それに怒ったワニザメは、白兎の体中の毛をむしり取り、あっという間に丸裸にしてしまいました。

丸裸にされた白兎がその痛みで砂浜で泣いていると、そこに大国主命の兄神様が大勢通りかかり（大国主命の兄神達は、隣の因幡の国に八上姫という美しい姫がいるという噂を聞きつけ、 自分のお嫁さんにしようと、因幡の国に向かっている途中でした）、 面白半分に『海水で体を洗い、風に当たってよく乾かし、高い山の頂上で寝ていれば治る』と言いました。 白兎が言われたとおりにしてみると、海水が乾くにつれて体の皮が風に吹き裂かれてしまい、ますますひどくなってしまいました。

“Hah, I tricked you guys!”

Brimming with happiness, the white rabbit blurted this out just as he was about to arrive on the coast of Inaba Country. Infuriated, one of the sharks grabbed hold of the white rabbit’s fur with its teeth and pulled it right off, leaving him hairless.

The hairless white rabbit was in such pain from this, as he was left crying in the sand. Just then, a large mass of gods, who were the 80 sibling gods of Ōkuninushi no kami (大国主命), came walking by. Similar to the rabbit, they too traveled to Inaba from a neighboring country after hearing about the unrivaled beauty of a princes named Yagami-hime (八上姫), with their intention being that one of them succeeds in taking her hand and making her their wife. Hearing the plight of the sobbing rabbit, the sibling gods, half-interested, shared with him the following.

“To cure your ailment, wash your body in sea water, then allow your body to be blown-dry in the wind, and finally sleep at the top of a mountain.”

As instructed, the rabbit drenched his body in sea water, and blow-dried his skin in the wind. However, he was unaware that this remedy was all but a lie, for with each step in this painful process, the more it became extremely excruciating to bear.

A creative interpretation Ōkuninushi no kami holding a cattail reed, which is key to the hairless white rabbit regaining its white fur back. From Illust-AC.

あまりの痛さに白兎が泣いていると、兄神達の全ての荷物を担がされて大きな袋を背負った大国主命が、兄神達からずいぶんと遅れて通りかかり、白兎に理由を尋ねました。 そして、『河口に行って真水で体を洗い、蒲の穂をつけなさい』と言いました。

白兎がその通りにすると、やがて毛が元通りになりました。 たいそう喜んだ白兎は『八上姫は兄神ではなく、あなたを選ぶでしょう。 あのような意地悪な神様は、八上姫をお嫁にもらうことは出来ません』と言い残し、自らが伝令の神となって、兄神達の到着より前に、この事実を八神姫に伝えたのでした。

As the white rabbit sat crying once again due to this extreme pain, a god by the name of Ōkuninushi no kami walked by, carrying a large baggage that contain the personal items of the sibling gods. He was a good distance from the sibling gods, as he followed behind the group at a slow pace. Ōkuninushi inquired the weeping white rabbit the cause of his plight, and listened to all that had transpired.

“Please go wash your body in fresh water at the mouth of the river, then rub the furry fruiting spikes of the cattail reeds all over your body.”

Ōkuninushi gave the white rabbit advice on how to solve his situation.

The white rabbit did as he was told, and sure enough his body once again was covered in fur. In return, the white rabbit, elated with joy, had this to say to Ōkuninushi,

“Mean-spirited guys like your brother gods will never be able to take Princess Yagami-hime as a wife. Instead, she should choose you.”

With that, the white rabbit transformed into a messenger god, and was able to quickly travel to Yagami-hime & inform her the situation before the sibling gods reached her place.

これを知らない兄神達は、先を競って姫に結婚を申し込みましたが、姫はそっけなく対応し、『私はあなた方ではなく、大国主命の元へ嫁ぎます』と言い、兄神達を追い返したのでした。

以上があらすじです。このように、大国主命は優しさも兼ね備えており、そんなところも女性の心をしっかりと掴むのかもしれません。

Unaware of what the white rabbit had done, the sibling gods gathered in front of the princess, and they all asked for her hand in marriage. With no hesitation, the princess responded to the request.

“I offer my hand in marriage to Ōkuninushi no kami, and not to any of you.”

In saying this, she sent the sibling gods out from her presence.

It can be said that through Ōkuninushi no kami’s kindness, and coupled with his unique trait of catching the heart of a woman, that this is how his journey was able to come to an end.

Page containing the tale “Inaba no Shiro Usagi”, from a copy of Kojiki in its original writing. From NDL Digital Collections.

This is how the story Inaba no Shiro Usagi ends. As mentioned before, this tale is a small part of a bigger story surrounding Ōkuninushi no kami’s journey. Still, in a short narrative we see a white rabbit use its cleverness & speed to accomplish a difficult task, as well as transform into a godly creature to repay another for his kindness. Stay tuned for part 2, which will be an in-dept analysis of the story and its unspoken meanings, as well as some back story in its interpretation over the years.

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Yoshitsune & Benkei’s 1st Encounter: Tracking down Facts out of Lore

Today’s article is sort of a pick up from the last one, where I spoke about Musashibō Benkei’s ōnaginata being a cultural asset. To reiterate, cultural assets are things that have value in a country’s culture, but may not necessarily match up in the form one would expect. Let’s look at this from another angle, taking a popular story of how the heroic Minamoto no Yoshitsune met the barbaric Musashibō Benkei. Though their first encounter was violent, they became loyal partners with Benkei becoming a retainer to Yoshitsune. Through this, a bridge claimed as where the encounter took place has become famous, and quite an important landmark that many individuals (both local and international visitors) travel to see.

Artwork depicting Yoshitsune (right) dueling with Benkei (left) on a bridge, entitled “Yoshitsune Ichidaiki no uchi Kyukai Gojō no hashi ni” (義経一代記之内 九回 五条の橋に). By Utagawa Hiroshige (歌川広重).

For stories of the past that seem bigger than life, do they always add up as being accurate? For today’s article, we will look at the specifics of this legendary story & how they play out in the geographical setting of Kyoto, then delve into this particular bridge in question and see how much it actually ties in to the fame it gets.

THE LORE

The backdrop of this popular lore is set in 12th century Japan during the late Heian period, and begins in the rich Capital city known today as Kyoto. For about a year, the warrior monk Benkei would approach anyone bearing a sword as they attempted to cross a particular bridge, and take it by force by challenging them to a fight. He was always successful, since he stood at a monstrous height and was equally as strong bearing a large naginata, for many individuals were powerless against him. However, this would come to an end when he met a small boy named Ushiwakamaru, who would later be renown under the name “Minamoto no Yoshitsune”¹.

Here’s a popular children’s folklore song based on the encounter, called ”Ushiwaka”, which sums up how the popular lore of the encounter plays out. To the left is the original Japanese text, while to the right is my English transliteration.

This folklore sets the acclaimed image of two warriors battling out on a bridge, which in turn contributed to a setting like this being a popular one for duels in many stories even today. While this lore is simple & easy to understand, it’s also surprising to know that this is not how their encounter took place! For the full story, we have to review the original text, which is called “Gikeiki” (義経記), or “The Records of Yoshitsune” in English. The Gikeiki is stated to be a very old war chronicle by an unknown author(s), which was compiled into 8 volumes during the Muromachi period in the 14th century, shortly after the real-life feud between the Taira clan and the Minamoto clan in the 12th century. Through this, not only do we learn that the fight took place in not one, but two locations, it’s also revealed that either one was not mentioned to be a bridge directly².

GOJŌ TENJIN SHRINE

In the Gikeiki, the encounter between Yoshitsune and Benkei can be found in the 3rd volume, recited in a chapter entitled, “Benkei rakuchū nite hito no tachi wo ubaitoru koto” (弁慶洛中にて人の太刀を奪ひ取る事, While on a bridge, Benkei takes other people’s swords). Here, they first meet each other not too far away from the Gojō Tenjin Shrine. The specifics of this is Benkei departed from this shrine and headed southward towards a pathway with earthen walls on either side within a residential area, and waited at the end of a waterway for his 1000th victim to walk along this route. He then caught a glimpse of Yoshitsune walking along this route as he crossed a waterway³, playing a flute. This route is significant as it was used by those who traveled to pay their respects at the Gojō Tenjin shrine, which is a real place located in the lower city area of Kyoto.

Pic of Gojō Tenjin shrine. From Wikipedia.

Is the Gojō Tenjin shrine where the famed battle takes place? Not really, as it is only half of it. According to the Gikeiki, after a brief scuffle, Yoshitsune demonstrated unexpected skills which would put his opponent on the back foot. Not prepared for the smaller Yoshitsune to be so overbearing, Benkei runs away.

KIYOMIZU-DERA

The final confrontation between Yoshitsune and Benkei concludes the following day. However, it did not take place on the Gojō bridge. Instead, the two warriors would meet⁴ and settle their dispute in front of a large gate of the temple called “Kiyomizu-dera”. This temple, too, has a claimed long history and still exists today in the Higashiyama District of the city area in Kyoto. Take note that as both Gojō Tenjin shirne and Kiyomizu-dera are in the city area, they aren’t too far away from each other. Distance-wise, they are about 30 mins apart by foot, separated by the Kamo river (more on this later).

Pic of the westward gate of Kiyomizu-dera. This is possibly the same area where Benkei and Yoshitsune met a 2nd time before resuming their fight. From Wikipedia.

The two would battle around the vicinity of the Kiyomizu-dera, where Yoshitsune, realizing his opponent’s potential, would lightly wound Benkei on the hand to prevent him from continuing the fight. Defeated, Yoshitsune offered him to pledge his allegiance and serve him. Weighing in on the pros and cons, Benkei agrees.

POTENTIAL HISTORICAL INACCURACIES

Going based on the Gikeiki, there’s no mention of Yoshitsune encountering Benkei on the Gojō bridge, or any bridge for that matter. So where did this idea come from? Does it even exist today? Just to be clear, there is mention of a bridge in the said chapter of the Gikeiki, for the chapter title indicates that Benkei does his dirty deed on a bridge. By default, he is synonymous with a bridge due to the trouble he stirs in Kyoto as he performs his task of acquiring 1000 swords. Yet, why does he not occupy this bridge for the 1000th victim, who would turn out to be Yoshitsune? Instead, after departing for Gojō Tenjin shrine, Benkei chooses to wait near a waterway…possibly leading to the Gojō bridge? Or, is it possible that their fight spilled all the way onto the Gojō bridge? What about during their 2nd encounter at Kiyomizu-dera? Distance is way too far, so logically they wouldn’t have concluded their battle on the bridge, right? This could just be a case of poor narration on the part of this unknown author, and failing to describe properly the fight being on the aforementioned bridge. Of course, there are other sources of this famed event that mention the Gojō bridge as the location where the two warriors met, but take note that they date much later than the Gikeiki.

Regarding this bridge in question, how do we track it down? In popular lore and other (later) adaptions of the lore (including in the form of song and theatrical performance), it is referred to as “Gojō no hashi”, but is officially called “Gojō Ōbashi” today. If we go by the latter, then yes there is a Gojō Ōbashi, which is a large bridge that sits over the Kamo river. It is geographically in the middle of Gojō Tenjin shrine and Kiyomizu-dera, albeit at an angle, and is an option of a path for those who would need to travel between both locations. However, this particular “bridge” cannot be the same one hinted in any of the sources, simply for the fact that it was not originally there at the time of the two warriors’ battle!…at least, not in the form we see it now.

Here is the Gojō bridge (bottom-left), portrayed with the temple Hōkōji (方広寺) in the artwork “Gojō hashi Daibutsuden Chōbō Zu” (五条橋大仏殿眺望図). By Maruyama Ōgyo (円山 応挙) sometime in the 18th century. To the right, a pic of the same bridge as it is in modern times. From Wikipedia.

Here’s a quick explanation to clear this up. Originally, this Gojō bridge was a short distance north from where it is now. In 1590, the shogun Toyotomi Hideyoshi had that bridge moved more southward in order to make processions to the temple Hōkōji (southwest of Kiyomizu-dera), which houses the largest statue of Buddha in Kyoto, more accessible. This is where the new Gojō bridge sits today. So, where was the old location? Researchers have estimated it to be where the current Matsubara bridge (松原橋, Matsubara hashi) is located, which is on the Matsubara tōri (松原通り), or “Matsubara street”. Guess it’s safe to say that while the location of the bridge is correct, apparently the specifics of the general area are a little off. Since it would’ve been the preferred route at the time, it aligns with the idea that Benkei was using this previous Gojō bridge (Matsubara bridge), and that he would’ve confronted Yoshitsune there (see illustration below as a reference).

In regards to potential inaccuracies concerning the 14th century text Gikeiki, this is to be expected for a couple of reasons. For starters, it is not unusual for locations that were mentioned in ancient text to not match up due to the development of cities and towns. In Japan’s case, this is even more of an issue, as certain key areas faced many changed due to whoever was in power at the time, usually a warlord, or by order of the shogun. It is not unusual for a bridge to be moved and renamed, but there are cases of villages, towns, and prefectures gaining new names or resized geographically. This poses as a challenge when trying to pinpoint places found in old documents that no longer exist. Another issue is in regards to the author of the text. While there is no author’s name specified, it is believed that the writing was heavily influenced by Buddhist monks. This isn’t unusual, for they were but few of specific groups that were literate, plus much of the contents for certain characters involved Buddhist practices that would take someone in the field to understand⁵. That being said, the original text, while slated to be a war chronicle based on true events, has its fair share of oddities that hint at agenda-driven ideas. In essence, these peculiar points could lead to such inaccuracies like not indicating properly whether a battle between two warriors indeed takes place on a bridge for the sake of highlighting places of worship.

This is an outline of the general area is Kyoto where the event takes place, as well as key locations mentioned in the story. The most important point to take from this is the location of the modern Gojō Ōbashi (Gojō Grand bridge) versus the previous Gojō bridge, now known as Matsubara hashi (Matsubara bridge).

On a related note, it is worth mentioning the naming convention “Gojō” is connected to the Gojō tōri, or “5th street” for simpler reading. As one would expect, the Gojō tōri is part of a numerical sequence of large streets that run through Kyoto, so there is an Ichijō tōri, (1st Street), Nijō tōri, (2nd Street), and so on. In turn, these same streets have their own matching bridges over the Kamo river. The Matsubara bridge, the former location of Gojō bridge, is geographically where Gojō tōri is said to have have been (present-day Matsubara tōri), which is one of the reasons for the name of the shrine Gojō Tenjin to have “Gojō” in it, as it sits near the edge of that former street (now called Matsubara tōri). Today, Gojō tōri runs along the same line as Gojō bridge…which seems to also be where Rokujō tōri is supposed to be.

CONCLUSION

In ending, certain aspects of history can make tangible things much more special, becoming intangible cultural icons. In the case of Yoshitsune and Benkei’s fated encounter, it’s been passed down as a lore that embraces the Gojō bridge as the stage for this. Being an old story, sometimes details don’t match up quite as well as they should, which can bring up questions, such as the accuracy the actual location. At the end of the day, it is best to see the modern day Gojō bridge as a tribute to the original location in my personal opinion. While there are perks to understanding the specifics, it shouldn’t deter a person from visiting this massive bridge and enjoy its visuals.

1) Historically famous under the title “Minamoto no Yoshitsune” as an adult. When he was younger, including the time of meeting Benkei, he went by the nickname “Ushiwakamaru”. To avoid confusion, we will primarily stick with his adult name for this article, where it applies.

2) There are a few other adaptations that cover this fated encounter as well, this including those interestingly entitled “Benkei Monogatari” (弁慶物語), “Hashi Benkei” (橋弁慶), and “Jisori Benkei” (じぞり弁慶). While all have their similarities, a few of them contain more info about Benkei, as well as some slight variations to how Yoshitsune and Benkei’s encounter unfolded, such as directly centering the Gojō bridge as the sole location where they would meet & conclude their battle.

3) This waterway points to the Kamo river, and may be the hint to Yoshitsune crossing over it by the Gojō bridge. Problem is, this is not actually stated in the Gikeiki, leading readers to assume this is the case. Note that this is an issue with the Gikeiki, and not necessarily a problem found in other sources covering Yoshitsune & Benkei’s fight.

4) In the Gikeiki, this is narrated as if this happened by chance. Benkei guesses that he would meet Yoshitsune at Kiyomizu-dera at night, and sure enough he appears. There is no indication that this is an arranged meeting, which is strange…or possibly the readers are to assumed that there was a clue hinting to the two agreeing to meet there…?

5) This is similar to the “Heike Monogatari” (平家物語), another historical text that covers the same events found in the Gikeiki, except more from the perspective of the Taira clan. While the author of the Heike Monogatari is unknown, it was told by monks in the form of verses for many generations.

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Ōnaginata that Survived into Modern Times

For this November, the ōnaginata (大薙刀, large glaive) will be the focus of my martial arts group’s Theme month training. Handouts with information regarding the monthly theme is given out, which will be the same Other than just learning fighting techniques, it’s important to also study the history of Japanese weapons, and understand how certain ones have been preserved up to even modern times.

From a historical standpoint, the naginata is a respectable weapon used during the long warfare that plagued Japan during its medievel period. While in today’s generation we commonly see the shorter version generally called a konaginata (小薙刀, short glaive), in the past very large ones both with a long shaft and large blade called ōnaginata once were carried by some of the mightiest warriors. Once wielded in the hands of capable warriors during Japan’s chaotic warring times, it lost usage once the Tokugawa Shogunate was established during the early 1600s. Thus, due to the government rule of naginata naoshi (薙刀直し), where the giant blades of ōnaginata were to be cut down into smaller blades to be used for such weapons such as katana, kodachi, and tantō, along with other restrictions that prevented large-scale battles from erupting. It’s unfortunate that no single ōnaginata survived into modern times…or did they?

Here are 3 examples of surviving ōnaginata, from their dimensions, the makers, and the stories tied to them.

ŌNAGINATA BY MORIMITSU

The first one is labeled “Oonaginata-mei Morimitsu” (大薙刀銘盛光), located in Setouchi City, Okayama Prefecture. Simply an ōnaginata that bears no unique name, it is a good representative of like weapon types used in the past which only is marked on its tang with the name of the maker, who is “Morimitsu”. This is the surname of a particular blacksmith that lasted for 3 generations, whom were active in the 1300s from the Nanbokucho period to the earlier part of Muromachi period, was respected for the craftsmanship used in the weapons produced.

Public images of this ōnaginata blade by Morimitsu. The left pic is from a pdf download link on Okayama Prefecture’s site, while the pic on the right is from “Nihon Bijutsu Tōken hozonkyō kai“.

There are a lot of details regarding this ōnaginata made available, with below an example of some of those that are provided:

  • Blade length is 107.8 cm
  • Curvature: 3.2 cm
  • Straight grain tempered pattern
  • Has a straight temper line with a misty-like appearance
  • Has 2 mekugi ana (peg holes)

This is a fairly long blade at 107.8 cm (42.5 in.), stated to be much longer than the standard size of ōnaginata used during warring times. Just as a frame of perspective, modern iaitō (居合刀, aluminum-bladed swords) and shinsakutō (新作刀, newly-made steel swords) have a standard length around 70 cm (roughly 27 in.), which is much longer than the blade for a konaginata, which can reach up to about 60 cm (23 in.) in length. In comparison, this ōnaginata has a big advantage, boosting a difference in length over 30 cm. One can imagine that, attached on an long shaft, a person would have superior reach when performing cuts. Speaking of shaft, this blade comes paired with one, which is black-lacquered.

THE SHRINE ŌNAGINATA

The next ōnaginata is part of a 3-piece collection that includes a larger sword and a shorter sword. Written on one side of the tang, we learn that it bears the name “Hōkago Hachimangu Reiken” (奉篭八幡宮霊剣). On the other side of the tang is the signature of the maker, which is “Heianjōjū Fujiwara Kunimichi” (平安城住藤原国路). This is currently the property of the shrine called “Hirosaki Hachiman-gu”, which is located in Hirosaki City, Aomori Prefecture.

Picture of the ōnaginata “Hōkago Hachimangu Reiken”, (top) along with an uchidachi (middle) and ōdachi (bottom) crafted by the same blacksmith. From the Hirosaki City website.

From surviving records, this is a 17th century weapon that was in the possession of the aforementioned shrine in 1611. There is a great chance that this ōnaginata (along with its 2 swords counterparts) was made specifically for the shrine and is more of a ceremonial piece, meaning it’s never been used for warfare. It is also known that Fujiwara Kunimichi, an uprising blacksmith who resided in Kyoto, made a name for himself with his style of craftsmanship that contributed to the new types of swords many moved towards to from the early Edo period onward.

Here’s the known specs of this ōnaginata:

  • Blade length: 91.2 cm
  • Nakago (tang) length: 1 meter

There’s not much info regarding other specs of the blade. However, the entire built is very long, for from the tip of the blade all the way down to the tang, it measure 205 cm.

How long is this ōnaginata blade? Let’s compare it to an ōdachi (battlefield long sword) at the bottom of the pic above, which was made by the same blacksmith.

  • Blade length: 107.8 cm
  • Nakago (tang) length: 35.3

While the ōnaginata’s total length is greater, the actual blade length is over 10 cm shorter than the ōdachi. Nevertheless, we can see that an ōnaginata blade is roughly the size of an ōdachi. Including the length of the shaft, the overall reach of the ōnaginata is staggering.

LEGENDARY BENKEI’S ŌNAGINATA

The last ōnaginata to showcase is an interesting one. Named “Iwatooshi” (岩融), it is claimed to be the prized weapon of the famed Musashibou Benkei (武蔵坊弁慶). As a little bit of history, Benkei was active during the later end of the Heian period (794 – 1185) as supposedly a large warrior monk, and was a loyal retainer of Minamoto Yoshitsune. The ōnaginata he used was just as grand, with a name that stands for “a blade that has fine cutting edge good enough to split stone”¹. The Iwatooshi is currently housed in Ōyamazumi Shrine in Imabari City, Ehime Prefecture, and is categorized as a valuable cultural asset, and is provided safe keeping².

Pic of the actual blade (?) of Iwatooshi, from the Touken World website.

There isn’t much info regarding its specs, other than the following.

  • Blade length: 106 cm
  • Maker: Munechika

On top of being on the longer side of standard ōnaginata length, the name of the maker is important to note, as this is possibly the legendary blacksmith known by the name “Sanjō Munechika” (三条宗近). Renown for making extraordinary swords, Munechika is noted in records related to exquisite swords and exemplary blacksmiths. This includes his finest work, “Mikazuki Munechika” (三日月宗近), which not only exists today, but is considered a national treasure, as well as one of 5 swords categorized as “Tenga Goken” (天下五剣, Five Greatest Swords). With a high profile blacksmith on its label, is there not doubt the level of acclaim the Iwatooshi will receive?

As expected, the Iwatooshi isn’t without some perplexing mysteries. For starters, Benkei is a figure who’s story has many holes due to a lack of proper documentation, so his existence is rather on the exaggerated side, especially in pop culture. Second, Benkei is said to have been alive around the 1100s, which is about 1,100 years ago. The same can be said about the Iwatooshi, which is amazing that such a thing could survive throughout so many generations (and in good shape too!)…if such a weapon truly did exist. Lastly, if we go based on the information regarding the blacksmith and can accept that Iwatooshi is a relic of past medieval Japan, can it be proven that this is the authentic ōnaginata and not a replica? From what I could find, it doesn’t look like this ōnaginata is set up for public display.

ENDING

This wraps up our look at ōnaginata. Once a potent battlefield weapon in ancient Japan, seeing a fully functional one today is but a think of the pass. Those who have the opportunity to see any form of an ōnaginata that has survived into modern times is usually in exhibitions, generally those held in museums.

1) 岩をも断ち切るほどの切れ味の良さ

2) An interesting note regarding items that are valuable cultural asset is that they are different from national treasures. The reason being is that while the former has a significant cultural value within Japan itself (whether it actually exists or is just a replica), the latter has prestige value on a global level in terms of tangible piece of history.

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2022: Be Inspired to do Big in the Year of the Tiger

It’s 2022! Let’s kick off in our usual fashion with an article on what the current Lunar Zodiac year is and what sign represents it. As many are aware, 2022 is the year of the tiger. Many have been sending out new year wishes accompanied with colorful images of tigers to help spread the word and support the Chinese Zodiac cycle. If we follow the actual chronological order of this ancient calendar, the correct date for this zodiac year is February 1st. Still, doesn’t mean we can’t get into the proper mindset and start 2022 right.

For this article, we’ll cover the specifics of the tiger sign, and what to expect the auspicious predictions for this year to be. Along with this, we’ll look at the societal and cultural influences the image of the tiger, as a whole, has had within the history of Japan.

UNDERSTANDING TORADOSHI

Under the Zodiac calendar, 2022’s zodiac animal is the tiger. So, we can call this the year of the tiger, or toradoshi (寅年) in Japanese. In many people’s minds, the imagery of a tiger symbolizes power, courage, as well as strong-willed. Of course, these characteristics were added much later once animals were incorporated as relatable representatives of humanistic qualities for each of the 12 zodiac signs.

A painting of a tiger reclining. Artwork of Ohara Kosen.

Let’s break down technical traits of this year’s zodiac sign. The tiger sign is identified by the character “寅”, which is pronounced as “tora”. Normally, the kanji for the actual animal is “虎”, which also uses the same pronunciation. Although possessing the same animal name, the “寅” character’s root meaning points to “sprouting of seeds”. This is significant as it’s the precursor to the seasonal transition from Winter to Spring.

Along with the 12 Zodiacs, there is the “10 Heavenly Stems” (十干/Jikkan in Japanese), which traditionally associates with each year’s reading. The character that represents this category is “壬”, with the pronunciation being “mizunoe”, and means “light-water”. This is because the 10 Heavenly Stems is a product of Inyō Gogyōsetsu (陰陽五行説), which is the combination of philosophical beliefs pertaining to ying-yang (light and dark) and the 5 Movements/Elements (earth, water, fire, wood, metal).

There are essentially 5 different tiger years within the 60-year Zodiac cycle, with each one representing a different element. For this year, we get both tiger and mizunoe together as “壬寅”, which is pronounced either as “jin-in” or “mizunoe tora”. Thus, the complete way of reading 2022 would be as “year of the water-tiger”.

EVERYDAY USAGE

The Zodiac signs have continued to have an impactful influence in Japan’s society of old. Becoming a staple within the culture, people were educated to rely on these signs for telling time, determining direction, and so on. Below are the different roles of the tiger sign in everyday application, along with its traits for this year.

  • Time = 3 am – 5 am
  • Direction = East-Northeast (abit past 30 degrees)
  • Month = 1st (old calendar); 2nd (modern calendar)
  • Energy = Light / positive (yang)
  • 5 Elements = water

Although archaic for today’s standards, it is still possible to utilize the tiger sign, as well as the other zodiac signs, for calculating time, directions, and so forth. There is a systematic process, which is covered in one of my translation projects entitled, “Many Ways of Utilizing the Zodiac Signs“. This can be found in the Translations section of this site, in the menu above.

2022 PREDICTIONS

As mentioned earlier, the character used to represent the tiger sign possesses the meaning of a seed sprouting. This imagery represents growth & vitality, as well as new beginnings. In essence, 2022 is read as a year for everyone to not only become revitalized, but to start a new endeavor. Realistically, this tends to be a general goal for every year, especially in the West. What the tiger sign emphasizes is an increased success rate on an auspicious level, especially for life-changing, ground-breaking pursuits.

Those born particularly in the water-tiger year are said to have particular traits that makes it easier for them to succeed. This includes having a strong intention to succeed, passionate and able to take on any challenges, and an eagerness to learn. While designated as the personality of those born under this sign, keep in mind this can benefit all individuals universally, as those of different signs can mimic this in order to reap the rewards this year can offer.

Interestingly, as much as an advantage those born under this tiger sign has, there are also significant disadvantages they have to especially be cautious about regarding overdoing things. Then there are those other fortune factors to be concerned about, such as wearable color clothing, lucky numbers, favorable directions, and so on…at least, for those individuals who actually follow this type of auspicious practice.

CULTURAL IMAGE

Outside of the Chinese Zodiac calendar, the image of the tiger has cemented itself into Japan’s culture, despite being a country that originally was not a habitat for such animals. Gaining knowledge about this large, wild cat from sources such as artworks, literature, and folklore from China & Korea centuries ago, Japanese society has incorporated the concept of them representing strength, bravery, as well as something having high value. Thus, it’s not unusual for the tiger image to be used as a form of expression for one’s worth, or to distinguish objects with this animal association to instill an everlasting impression.

Artwork entitled, “Satō Masakiyo toragari no zu” (Satō Masakiyo on a Tiger Hunt). Artist is Utagawa Kuniteru. One of many artwork pieces that follow a popular theme regarding warriors defeating a tiger, usually as a feat to display their prowess.

Let’s look into the historical use of the word tora (tiger) as a label. Since as far back as medieval Japan, it wasn’t unusual for individuals to include this word in their name or given title, especially for warriors or those in the entertainment field.

  • Takeda Shingen (武田信玄) = the renown warlord of Kai province was nicknamed “Tiger of Kai” (甲斐の虎, Kai no Tora), for he was a cunning & formidable competitor in the race to dominate Japan during the 1500s.
  • Akiyama Torashige (秋山虎繁) = a strong warrior & trusted retainer of the Takeda clan that controlled Kai province.
  • Hara Toramasa (原虎胤) = another warrior of the Takeda clan that was an ashigaru taishō (足軽大将, infantry commander).
  • Ii Naotora (井伊直虎) = a female territorial lord during the mid 1500s, as noted in the chronicles of the Ii family.
  • Utagawa Yoshitora (歌川義虎) = an accomplished ukiyo-e artist during the late Edo period to early Meiji period.
  • Nakamura Toranosuke (中村 虎之介) = a young kabuki performer/actor who hails down a family line that specialized in kabuki theater.

In a sense, the inclusion of tora (tiger) in each of these individual’s names or as a label can be taken as an indication of their capacity for success.

Next, is how value is placed on tangible things. For example, within the different areas of artistic practices and performances of old such as bujutsu (武術, martial arts) and chadō (茶道, way of the tea ceremony), documents that contain secret & high-level knowledge exclusive to those worthy were often called “tora no maki” (虎の巻), which literally can be translated as “tiger scroll”. This is still done today, as this label is placed on workbooks & study guides that contain important tips and strategies to help students pass exams, or excel in various fields of interest, such as medical or tech. There is also the term “tora no ko” (虎の子), which usually indicates things of extreme value, such as money. With the term meaning “tiger’s cub”, one can get the idea of how protective a mother tiger is when it comes down to ensuring safety for her own cubs. This is the type of feeling that must be projected for things that are of the status to be labeled “tora no ko”.

Painting entitled, “Fūryū Jūnishi Tora (Appreciation of the 12 Zodiac Animals: Tiger). Artist is Isoda Koryusai. While no official description could be found, this artwork displays an adult tiger with a tiger cub on its back, possibly rescuing it from the strong water turrent.

There are also some interesting old sayings that use the tiger image in an expressive fashion. Below are some examples, from dangerous situations to challenging the road to success:

  • Kogō (虎口) = the tiger’s den
    MEANING = a dangerous place to either avoid or escape from.
  • Koketsu ni irazunba koji wo ezu (虎穴に入らずんば虎子を得ず) = you can’t steal the cub if you don’t enter the tiger’s den
    MEANING = have to take risks if you want to succeed big.
  • Tora no o wo fumu (虎の尾を踏む) = stepping on the tiger’s tail
    MEANING = beware of stirring trouble, or getting caught in a bad predicament.
  • Tora ni tsubasa (虎に翼) = a tiger with wings
    MEANING = giving someone who is already powerful a level up boost.
  • Neko wa tora no kokoro wo shirazu (猫は虎の心を知らず) = Although similar, a cat doesn’t possess the mind of a tiger
    MEANING = an average Joe cannot understand the mind of a successful person.

CONCLUSION

While our world has faced an amount of setbacks caused by the pandemic, we are gearing to move forward with our lives in hopes to overcome. Let’s hope that this year everyone can make strides towards this, and be successful in our goals, whether it be in helping our communities, starting a new business, or just getting back on our feet. Don’t forget to use the image of the tiger to be inspired to do big!

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Nengajō: Happy Wishes on New Years Day

As the year comes to a close, people send different forms of heartfelt messages around the world. This is done for all types of purposes, whether it be reaching out & staying in touch between family and friends, or keeping good relations between businesses and customers. In the US, many usually do this in the form of holiday cards, such as Christmas cards or New Years cards. Similarly, Japan has a practice of using cards as well, which is called nengajō (年賀状). What is the story behind nengajō? In this article, we’ll explore the history behind these letters of happy new year wishes & when they came about in Japan, along with the iconic appearance that has become a mainstay. We’ll also touch upon the rules & hardships that come along with following this tradition, as well as how technology is changing people approach sending out new year wishes.

MEANING AND HISTORY

The word “nengajō” stands for a written letter used to wish good fortune in the new year. In today’s standards, this is labeled simply as a holiday card. Such practice in Japan was recorded around the later part of Heian period (794 ~1185). Evidence of this is found within the collection of letters called “Unshū Shōsoku” (雲集消息), which were of the possession of Heian aristocrat and Confucius scholar Fujiwara Akihira. In this collection, there are exchanges of messages of New Year wishes between him and others. Considering the time period and how aristocrat families primarily had access to literacy education, it is believed that the practice of nengajō started with this group. Other examples of expressing new year wishes can be also found in educational resources called “Teikin Ōrai” (庭訓往来), which were used at private temple schools starting sometime in the 1300s during the Muromachi period. In the past, the most common phrases found in these letters included expressions of fortune or wishing happiness to the recipient as Spring was opening up throughout Japan. Along with the elite families, military families would also follow this tradition, as many warlords saw it important to uphold good relations with their allies.

Here’s an opening page in a version of Teikin Ōrai from Sakamoto Ryumon Bunko & Nara Women’s University Academic Information Center that was written in 1520. The underlined section is an example of nengajo, where the message is expressing luck and plenty of fortune to the recipient as Spring is upon them. This reflects the time period when the old calendar was prominent in Japan’s past, for the new year fell on the beginning of today’s February.

In the Edo period, this practice was slowly being adopted by the common people. This is due to literacy education being made available through private elementary schools, which helped society as a whole develop with each generation. Still, the catch was that family had to be making a well enough income to afford education lessons. Education as a whole made it possible for many towns & prefectures to incorporate cultural traditions primarily elite families partook in the past. As nengajō became a growing practice among the masses, one form of transportation that became essential was the mobility of machibikyaku (町飛脚), or express messengers in English. This special service was introduced as a simple solution to meet the demands of Japanese citizens having their holiday cards reach their families, friends, and acquaintances on the exact day of gantan (元旦), or 1st day of the new year. Machibikyaku were depended on for this task up until the ending of the Edo period, as this service would be replaced by a more systematic process known as the postal system.

To the left is an illustration of an Edo period express messenger. To the right, example of nengajō written during the Edo period. Click on each to see their full size.

The postal system was introduced in Japan around 1871, with post offices slowly constructed in each prefecture throughout the country. The postal service would become fully established around Japan within the years, which from there a formal delivery service could be provided throughout the country. Citizens took advantage of this, for in late 1880s onward post offices had to handle the bulk of these holiday cards from everyone throughout Japan in the last month of the year, as postal workers had to work around the clock to ensure each and every nengajō made it to their destinations on the 1st day of the new year. This approach was adopted from how the machibikyaku were used for express deliveries in short periods of time.

DESIGNS AND FEATURES

Over the course of history, nengajō went through several visual and physical transitions. More ancient examples can be seen from resources like Unshū Shōsoku and Teikin Ōrai, where In the beginning this letters were sent that contained new year wishes in the form of one to two line greetings. Once Japan was unified by one sole power called the Tokugawa Shogunate and giving birth to Edo period in the early 1600s, nengajō retained its letter form as common people emulated what was done in the past. In some of these, illustrations were added along with the message depending on the sender’s taste. These new year letters were folded into a smaller, compact size, which made easy to carry by those who could travel, or be piled with other letters in a square box and easily distributed by machibikyaku once they reached their destination.

An example of nengajō in modern times. From Wikipedia.

As Edo period came to an end, with Meiji period taking its place in late mid 1800s, advancement in modernization would influence how people would send out nengajō. With an actual postal system in play, actual holiday cards called nenga hagaki would be made available for purchase. This version was especially well received during the early to mid 20th century, as people could go to their local post office, book stores,or specialty shops and purchase these pre-made cards. This period saw a very iconic look for these holiday cards, where on one side would be for the address of the sender & recipient and the stamp, while the other side would feature some form of illustration followed by space for one’s message.

An example of otoshidama-zuki nenga hagaki. From Wikipedia.

Speaking of which, with the inclusion of the card design came other features that gave sending nengajo more appeal. The 1st one being otoshidama-zuki nenga hagaki (お年玉付き年賀はがき), which are holiday cards equipped with lottery numbers. These lottery numbers are issued by the postal system and give the recipient a chance to win small prizes. Take note that these cards are only purchasable from post offices, as this is one of the ways the postal service makes money. There are 2 periods in which these lottery holiday cards can be purchased, with the earliest being July, and the latest during August. These lottery cards are different from regular cards used as nengajō, which are generally made available from November 1st. Surprisingly, these lottery holiday cards became the “expected” way of sending new year wishes at one point.

Different vintage new year stamps over the years, featuring different themes. You can see more of, as well as purchase, these stamps at the site Nihon Yuubin Syumi-Kyokai.

The other appealing feature would be the nenga kitte (年賀切手), or new year stamps. These specialized stamps were introduced to the public in late 1935, and were designed to be placed on nengajō. Over the years, these stamps featured unique art themes to make them more eye-catching, such as having a national landmark, a symbol attached to a specific prefecture or island in Japan, a person in an attractive outfit, and to the ever familiar Zodiac animals. New year stamps are still in play today, both physical and digital stamps (more on this later).

RULES & HARDSHIPS

Nengajō has a pivotal place in Japanese society. In modern times, people took sending these holiday cards out seriously, especially for maintaining good business relations. Since their purpose is to wish the recipient a fortunate new year, they need to be prepared & sent out at on time. There are actual protocols that need to be followed when sending these out.

  1. The period for sending out nengajō is from the last week of November to around 2nd~3rd week of December
  2. Cut off time for the post office to receive nengajō is December 25th
  3. While any type of holiday card can be used, official ones issued by the post office were the expected type
  4. Nengajō had to be bought at a particular time, especially otoshidama-zuki nenga hagaki

While this is a seasonal practice, just keeping in mind when to prepare for this isn’t too much of a hassle, especially when sending out personal holiday cards for family and friends. On the other hand, businesses are hard pressed with getting all of their holiday cards out at a timely fashion. Companies are expected to take seriously the custom of sending out new year wishes to everyone they communicate throughout the years, whether it be customers, associates, and vendors. This includes individual workers who are the position of working directly in business transactions.

Picture of a Print Gocco. From Wikipedia.

Speaking of which, there was a point where sending nengajō was a serious endeavor that equipment was needed to assist with the volume of holiday cards that was required to be to sent out. From the late 1970s to early 2000s there was a handy device called “Print Gocco” (プリントごっこ), which allowed anyone to custom design their cards with the typical designs found on nengajō. It was small & simple to use, and would allow anyone to fully design a typical holiday card in a short amount of time (specially-supplied cards from the post office generally were used). Of course, what a Print Gokko could not do was duplicate a hand written message, which a person had to do themselves. In terms of experience with a Print Gokko, my Japanese father-in-law invested in this during his years of full-time employment at a company. It wasn’t for personal use though, but instead needed to prepare nengajō for customers and business partners he interacted with over the years. Every year he had to prepare around 200 of these holiday cards at home using the Print Gocco, and making time to write personal messages based on recipient. My wife explained that was a daunting task on him, and how others in Japan had the same routine as him. This is an example of how important keeping good relations through nengajō was viewed upon throughout the years.

Another example of the importance nengajō presented was impacted on the Japanese postal system. Pressure was placed on post offices around Japan for many years, especially during the late 21st century, when the economy was at its highest point and many high-profile businesses doing well worldwide. During this period, the volume of mail that included nengajō was unmanageable during regular postal schedule. This instilled a critical end-of-the-year overtime during the last week of December, where Post Offices had to hire part-time workers, usually students, to handle the task of delivering nengajō on January 1st. This is reminiscent of how machibikyaku worked during the Edo period. As of recent, this end-of-the-year overtime was lifted off the post office, due the lesser volume of physical holiday cards they see nowadays.

DECLINE DUE TO MODERN ADVANCEMENT

Nengajō has cemented its place in Japanese culture. However, how people continue this tradition of new year wishes is changing. Advancement in technology has given the world options for ease of accessibility for many areas of interest with the introduction of computers and smart devices. People can enjoy nengajō through these methods, but in return interest in sending out physical mail has dwindled considerably.

Let’s take a look at how technology has given people options with nengajō. From the late 20th century to early 21st century, print shops, as well as online services that can be accessed on one’s personal computer, offer options to customizing and designing unique holiday cards. Through such service, customers do such things like choose font type, adjust layout, to adding their favorite pictures, including of family members. The popularity in this was due to the departure from the more traditional look of nengajō since the start of the Meiji period, to a modern standard that fit everyone’s personal taste and style.

Snapshot of new year stamps that can be purchased for use in messages, which can be used through Line app.

Technology of smartphones in the early 21st century would further give people greater ease of sending holiday wishes through digital nengajō using SMS, such as Line app. Along with one’s personal message and decorated picture, users can add cool looking new years stamps. Digital nengajō is a very cost-efficient way of staying in touch and is extremely popular way among different age groups in Japan. Of course, with this ease in communicating with both family and friends through tech, the more traditional method of “snail mail” using paper cards and physical stamps is not relied on as it once used to be decades ago.

ENDING

This concludes our look at nengajō and its impactful history in Japanese culture. As a well-documented practice, there are some really nice designs that can be viewed online of cards & stamps used within the last century. Even though there’s a departure from physical nengajō, sending them digitally is also cool, as it still retains the spirit of wishing a happy new year to loved ones & friends. As a whole, one can have fun making a comparison of this holiday card practice in Japan with one’s own country’s standards.