Looking at the True Sanada Yukimura ~ Part 2

We continue with part 2 regarding the true image of Sanada Yukimura. In part 1 we established that his real name was Nobushige, took a brief overview of his historical bio, and examined the source behind the label “Yukimura” along with the idea behind it. In this post we will look at the fictional side spurred on by the Yukimura image, and how real life accounts fit into this. Take note that when addressing non-academic source materials such as movies and novels, one should not automatically assume that these are completely false info which can can be discarded in a blink of the eye. Depending on the author/director’s intentions, these could very much follow along accurately with historical events in order to make a solid and entertaining story. They may even contain info that tends to be difficult to find. However, what is important is to recognize which points are fiction in these works, and how to discern the correct info that can be compared to factual sources.

PERSONALITY OF A HERO

A common image of Sanada Yukimura in today’s generation.

When analyzing the image of Sanada Yukimura, we see him represented as one of Japan’s greatest war heroes. This is in part to how he’s portrayed in novels, shows, and movies, both old and new. Depending on the literary work, Yukimura is given a personality that portrays him as stoic, righteous, and heroic figure. This is common especially if the individual is the main character. He is usually depicted as one who stands by his principles and doing whatever it takes to ensure victory, especially for the Toyotomi family. In instances regarding the Osaka Campaign, Yukimura is shown leading his troops head-on into the thick of battle, while in others he is resourceful with carefully analyzed plans that lead to successful outcome. One of the themes that is considered memorable is him commanding his elite warriors and having them operate as kagemusha (影武者, body double) of himself, which was a deceptive tactic to disrupt the enemies’ focus and lower their morality as they get overwhelmed dealing with multiple “Yukimura”.

Take this as an example. In the novel “Chōbō Sanada Yukimura” (智謀真田幸村), Yukimura is shown to be ever protective of his master, Hideyoshi Hideyori after the defeat during the Osaka Campaign. As an escape to Sasshū Province (western part of present-day Kagoshima prefecture) has been established, he is portrayed saying the following lines to a fellow comrade named Gotō Matabei¹:



“…今日評定の席にてあのようにもうしたものゝ、ねがはくば御身は討死を止まっていただきたい”

…considering things from where I stand right now, I want to prevent my lord from dying in this war, if granted such an opportunity”


“そのうえ時節をまって島津家において人数をまとめ、ふたゝび豊臣家を再興せんと言う所存、よって貴殿は誰れか影武者をもって、表面討死をいたしたと言う体裁になしくださるよう”

”On top of this, my thoughts are to gather a number of people, and have them reestablish the Toyotomi clan through the help of the Shimazu (Shimadzu) clan. Through this, I would want to have someone play your double, and then have him die in (the next) battle where everyone can see.”


To the very end, Yukimura dedicates his life in preserving the true Toyotomi line, even when the odds are surely against them. Establishing a new Toyotomi family, and using doubles for certain individuals that would continue the fight and eventually die at the hands of Tokugawa Shogunate would stop any pursuers coming for them. As impressive as this may sound, this is just a novel. Yet, this also goes in hand with the narrative regarding him avoiding death and managing to survive Osaka Campaign.

ADDITIONAL/SUPPORTIVE CHARACTERS

In fictional works there tends to be characters that don’t have a real historical presence, but used for the sake of the story. In the various novels that feature Yukimura, there are cases of this, sometimes being minor individuals who help to fill in the gaps where history leaves open. Other times a real figure is used to model a new character placed in the story. Since literary works regarding Sanada Yukimura were stated to be based on true events in the past, like many other novels of its kind, future generation may inadvertently mistaken fictional characters as to being actual people.

A collage of thumbnails depicting the Jūyūshi (10 brave warriors) who served Yukimura, drawn woodblock-style. From “Ueda City Digital Archive Portal Site”

Other than Yukimura himself, possibly the largest example of fictional characters is found in the “Sanada Jūyūshi” (真田十勇士), which is a label given to 10 brave warriors representing families that were allies to the Sanada clan. The appearance of this Sanada Jūyūshi is often attributed to “Sanada Sandaiki” (真田三代記), a Sanada-supportive narrative produced in the Edo period. Although viewed as fictional, these characters grew in popularity and appeared in modern-day novels, manga, movies, and the like. Some of the individuals even appeared in works centering about them, which further developed their background story to the point where they sound like they truly came out from the pages of history. The following is a list of the those individuals of the Sanada Jūyūshi²:

  1. Sarutobi Sasuke (猿飛佐助) – a famous ninja employed by the Sanada clan, he is said to be the student of the legendary Koka ryu ninjutsu master named Tozawa Hakuunsai.
  2. Kirigakure Saizō (霧隠才蔵) – a ninja who was the student of Momochi Sandayu, lord of one of the 3 powerful families of Iga Prefecture.
  3. Miyoshi Seikai Nyūdō (三好清海入道) – A monk employed by Yukimura who is renown as a hero fighting to his death during the Osaka Campaign.
  4. Miyoshi Isa Nyūdō (三好伊三入道) – Younger brother of Sekai who was also a monk, and hailed as a hero dying in battle during the Osaka Campaign.
  5. Anayama Kosuke (穴山 こすけ) – A dedicated retainer of Yukimura, he played the double of his master during the Osaka Campaign.
  6. Yuri Kamanosuke (由利鎌之助) – Once a retainer Toda Suganuma, he switched to the Sanada side after the Toda were defeated in battle.
  7. Kakei Jūzō (筧十蔵) – From the Kakei family, allies of the Sanada clan. Apart from Jūzō, other members of the Kakei family also appear in different Sanada-related stories.
  8. Unno Rokurō (海野六郎) – A fellow kinsman, as his family line is from where the Sanada line originates from.
  9. Nezu Jinpachi (根津甚八) – Once a pirate for the Kuki navy, he later becomes a retainer of Yukimura. His family line, like the Sanada line, also originates from the Unno line.
  10. Mochizuki Rokurō (望月六郎) – A mysterious ally of Yukimura who specializes in explosives. Rokurō is also known under different titles depending on the story he appears in.

Note that while they make up the Jūyūshi due to their inclusion in various works as allies of Yukimura since as early as the Edo period, this wasn’t an official title for them until sometime in the late 1800s to early 1900s. Some other things worth mentioning is that while these characters are deemed fictional, most of them are considered to have been inspired by actual people from history. For example, the concept of Sarutobi Sasuke is believed to have been based off of one of several different individuals whose names appear in different texts. The most popular theory is Sarutobi Nisuke³ (猿飛仁助), who is said to have been a thief hired to assist in the “Battle of Kanegasaki” (金ヶ崎の戦い) by a Kinoshita Tokichirō (木下藤吉郎) in 1570⁴. In another example, Miyoshi Sekai and his brother are believed to have been modeled after Miyoshi Masakatsu (三好政勝) and his family. Masakatsu became head of the Miyoshi clan and served under Hosokawa Harumoto after his father, Miyoshi Masanaga (三好政長), retired.

RED ARMOR

A staple that will probably be forever associated with Sanada Yukimura is red armor. This is something Yukimura and his troops donned on right before the Osaka Campaign. The concept of wearing red armor is thought to be intimidating due to its fiery color. It’s said that it has such a psychological effect on his enemy Tokugawa Ieyasu that his umajirushi (馬印, a battle flag on a pole inserted into a slot on the back of one’s armor) fell down, which is said to be a bad omen. Yukimura is, with no hesitation, depicted in red armor in novels and visual in artworks from Edo period. Due to these, the trend continues in modern times. This association to the red armor is not limited to Yukimura, for the Sanada clan as a whole is included as well.

News article regarding the discovery of red armor, possibly related to the Sanada clan. From Sankei News.

Of course, this claim of red armor doesn’t come without critical disputes. One of the more recent claims is that the Sanada red armor is just as much as a myth as the name Yukimura, for this famed red armor of his (Nobushige’s) has yet to be claimed and placed in a museum. One argument is that the actual armor that Nobushige wore was found, and that it was actually black. Another argument is that within certain households in Japan that have some form of link to the Sanada clan have preserved these old red armor, but the color is not a vibrant red but a dull brownish-red color. Considering how wars in the past were conducted, it is not unusual for certain things like armor to have been taken by the victor, or lost during the chaotic fray. Interestingly, in 2017 there was an article in a Japanese newspaper regarding family in Nagano, Japan coming forth with what looks to be the remains of a very old red armor, along with an aged note stating it was the possession of the Sanada clan. It was up on display at the Sanada Hobutsukan (真田宝物館, Sanada Sacred Treasures Museum) that same year.

As a side note, the idea of wearing red armor isn’t an original concept by the Sanada clan, nor was a it a rare sight. Historical sources point to the warlord of Kai province, Takeda Shingen, as being the first to devise this strategy around the mid 1500s. It’s said of intimidation the opposition with this type of color. Shingen had a designated team of soldiers wear red armor in order to catch the enemy force’s eyes and instill fear as they rushed into battle. It is from here which Sanada Masayuki (Nobushige’s father) adopted the idea of red armor within his clan. Whether or not members of the Sanada clan donned on red armor prior to the events in Osaka Campaign is still up for debate, but there is one evidence that points to this as being a thing. In Hirayama Masaru’s book “Sanada Nobuyuki: Chichi no Chiryaku ni katta Ketsudan-ryoku” (真田信之 父の知略に勝った決断力), he reveals that when an order from Toyotomi Hideyoshi came regarding being prepared for military service in 1593, Sanada Nobuyuki (Nobushige’s older brother) replied that the warriors of the Sanada clan were always ready to serve while donning on red armor. Years later, during the Battle of Sekigahara a retainer of Tokugawa Ieyasu known as Ii Naomasa (井伊直政) also adopted the idea of wearing red armor and outfitted his troops the same way. What’s unique in this is that he was a comrade to Nobuyuki, who at the time sided with the Tokugawa-Eastern forces as ordered by his father Masayuki as a means to ensure the Sanada line survives no matter which side wins.

SANADA = NINJA?!?

Since the Edo period all the way to the present, the Sanada clan is presented as heavily associated with ninja. Employing a large number of these shadowy figures, ninja from both the regions of Iga and Koga are portrayed as serving Sanada members like Masayuki, Nobuyuki, and Yukimura. While it starts off small in earlier works in the Edo period, this image became more pronounced in later works such as novel Sanada Sandaiki, where all 10 members of the Jūyūshi are ninja or related to a ninja. This even lead to more focus on the ninja theme in modern works, including movies such as “Ninjutsu Sanada Jūyūshi” (忍術真田十勇士) and “Sanada Fuunroku” (真田風雲録), as well as 2016 drama “Sanada-Maru” (真田丸)⁵.

What is the reason behind this large focus on ninja being employed by the Sanada clan? Is it just a ploy to bolster the image of Yukimura (Nobushige), which in turn developed into its own entity entirely? In some ways, yes. However, this is not a baseless creation or idea. There are records that point to the Sanada clan having a working relationship with different groups that specialized in the fundamental skills that would become what we call “ninjutsu” in modern days. According to some, the Sanada clan are also said to have engaged in ninja-like activities themselves. The root of this is generally connected to Takeda Shingen and when he was ruler of Kai Province during the early-mid 1500s. Shingen is recorded as utilizing not only a network of different groups taking part in espionage and information-gathering, but establishing an in-house system of ninjutsu, which a select number of his generals were privy to learning in order to assist in maintaining it. At the time, Sanada Yukitaka (Nobushige’s grandfather) was serving Shingen and not only had knowledge of utilizing ninja, but is said to have taken part in ninja-like operations. Yukitaka’s son Sanada Masayuki would continue this as one of the 24 top generals of the Takeda clan. In fact, some claim that after Takeda Shingen’s death and the fall of the Takeda clan, Masayuki would keep up this network of utilizing ninja.

One piece of evidence for this is found in an old historical memoir called Kazawaki (加沢記), which is an account of activities that took place in areas around Kosuke Province (present-day Gunma prefecture) during the 1500s. Ninja-like groups from Higashi Agazuma area (東吾妻方地) are written to have been utilized by Takeda Shingen and members of the Sanada Clan. This is significant due to Higashi Agazuma area featuring densely wooded routes that were used not only by the local ninja, but it said that members of the Sanada clan also had access to these as well.

A genealogy chart of the Yokotani family. On it is the name of Yokotani Sakon (Shigeuji), circled) who was a ninja employed to the Sanada clan. From the book “Sanada Ninja no Matsuei” (真田忍者の末裔)

This leads to the famed Yukimura and his Jūyūshi. The ninja members such as Kirigakure Saizō have been identified as fictional characters. Claims are that they were inspired by real life figures who may not have actually had any connections with Yukimura. Yet, could it be that there were actual ninja working closely to him? There is one that is worth mentioning. Sources point to the Yokotani family (横谷氏), who are said to have been ninja from Shinano Province (part of present-day Nagano Prefecture). While there is not a lot of info on them, it is believed that they were active throughout the 1500s to about the early 1600s as members of a ninja group from Agazuma area, who were under the employment of Ideura Morikiyo (出浦 盛清), a vassal of the Sanada clan. Notable members are Yokotani Yukishige (横谷幸重), who is said to have served Sanada Nobuyuki (Nobushige’s older brother), while his younger brother Yokotani Shigeuji (横谷重氏) had served Nobushige. Shigeuji, who also went by the title “Sakon” (左近), died during Osaka Campaign, just like others who were serving Nobushige during the battle. Some researchers believe that Yokotani Shigeuji could have inspired the idea of Sarutobi Sasuke, but this hasn’t been proven yet.

So the idea of a ninja employed under Nobushige, fighting during the Osaka Campaign, and dying as possibly a kagemusha for him is a strong possibility. On top of that, with the Sanada clan’s deep connection with utilizing ninja groups, it can be understood why they are presented the way they are. However, it is too far of a stretch to say everyone around Nobushige was a ninja, and that the Jūyūshi were composed entirely of them. See, when you have a forced portrayal of Miyoshi Seikai Nyūdō being the son of the fictional thief ninja Ishikawa Goemon as depicted in Shibata Renzaborū’s novel “Sanada Yukimura~Sanada Jūyūshi” (真田幸村~真田十勇士), it’s hard not to say that this is due to the popularity of ninja in modern society.

CONCLUSION

Here we conclude the discussion on this famous hero. In ending, writing about Sanada Yukimura (Nobushige) is a tough topic to pick up and try to address from a historical point of view. To be exact, this was a several months-long project, which included acquiring a Sanada-related books, reading through well-known novels, researching historical sources, and going through sites that spoke about both the real side and the fictional side of Yukimura, to say the least. In the long run, due to how history was recorded hundreds of years ago, it is hard to get a definitive answer on certain points, especially when writers add their creative perspective to make a war story sound more epic.


1) Chapter 54, page 431

2) Depending on the source material, some of these characters bear a different name or are presented in a revised way. The one above is a standard listing.

3) The credibility of the source that mentions Sarutobi Nisuke is also under scrutiny, thus historians feel that he may have been made up to fit some agenda.

4) This was another alias used by Toyotomi Hideyoshi, a warlord who managed to seize control of Japan in the later part of the 1500s

5) The terms ninja and ninjutsu are used loosely here, as they are modern words used to identify those who engaged in clandestine activities such as spying, and information gathering. While in the past there were different labels depending on the region and who they were employed by, the universal term was often considered to be shinobi (忍び), and their methods called shinobi-no-jutsu (忍びの術). For the sake of ease in understanding for casual readers, the terms ninja and ninjutsu were chosen to be used in this article.

Looking at the True Sanada Yukimura ~ Part 1

Those who invest time in studying up on the Sengoku jidai (戦国時代, Warring States period) of Japan will eventually come across accounts concerning the Sanada clan. Possibly one of the more popular figures, the Sanada clan are renown for their brave, unorthodox methods of warfare while under the allegiance to warlords such as Takeda Shingen and Hideyoshi Hideyori. Out of the known members of this clan, the most talked about would arguably be the one named Yukimura. To some it would be due to his fame, yet this in turn is riddled with discrepancy. Who was this Sanada Yukimura?

Primarily inspired (mainly from curiosity) through the Kai Kokushi project found in the Translation section of this blog¹, I decided to take a shot at presenting the true face of Yukimura, as well as separating him from the fabled image that is currently predominant around the world. What I’ve found out, however, that this is a task that, in the very end would still have holes due to a lack of solid factual evidence, making it near impossible to paint a perfect picture. A plus to all this is understanding the situation enough where I can at least explain it where readers can discern just how difficult it is to claim what is historically real and what is fabricated through fiction.

In this 1st post of this 2-part discussion, we will touch upon the historical story regarding of the true Yukimura, the origins of the fictional Yukimura, and the proposed reasoning behind the name.

BRIEF LOOK AT THE LIFE OF NOBUSHIGE

Picture of Sanada Nobushige (Yukimura). From Wikipedia

To understand the legend of Sanada Yukimura is to learn about how historical sources view him. For starters, Sanada Yukimura’s actual name is said to be Nobushige (信繁). His active participation in war is often recited to be around 1600, when the Western forcess of the Toyotomi clan went to war against the Eastern forces of the Tokugawa clan for control over Japan during the “War at Sekigahara” (関ヶ原合戦, Sekigahara Gassen)². During this time he was fighting alongside his father, Sanada Masayuki while establishing a strong fortification in Ueda Castle on the side of the Toyotomi clan. Records point out that Nobushige and his father went into hiding at Kudoyama (九度山) in northern Wakayama prefecture after the Tokugawa-Eastern force came out victorious in the battle and had Masayuki exiled.

Many years later, Nobushige and his troops joined allies of the remaining Toyotomi clan to occupy Osaka Castle, as well as took part in the fighting against the Tokugawa shogunate that ensued afterwards, known as the Osaka Campaign (大阪の陣, Osaka no Jin) in 1614. Nobushige is said to have been a skilled strategist, as he performed effective tactics such as securing a weakpoint on the side of Osaka castle with his own fortification called “Sanada-maru” (真田丸), which proved to be near impenetrable. He also divided his troops into smaller squads around the battlefield and attacked their enemies from multiple directions, disrupting the opposite side’s advancements a few times. As talented as he was, however, in the long run Nobushige met his end during one of the smaller conflicts that took place during the war called “Battle at Mikatagahara” (三方ヶ原の戦い, Mikatagahara no Tatakai). It is recorded that while he was wounded and tired amongst a grove of trees, Nobushige was successfully killed and decapitated. The rest of his troops shared a similar fate.

Yet, there is much mystery surrounding his death as well, as there are claims that he had managed to escape to Satsuma province (present-day Kagoshima) through the use of many kagemusha (影武者, someone posing as a double of another). These kagemusha perished in battle posing as him³. This is a recent claim made in 1941 by researchers who came across the grave of one of Nobushige’s grandchildren in Kagoshima, who’s name was Sanada Daisuke (真田大助). Speaking of graves, supposedly Nobushige has many graves around certain areas in Japan; while this isn’t an unusual thing in Japan, a few of these are in areas where certain individuals claim he traveled abit during his escape before making his residence there. Of course, these claims are made during modern times.

Is it a possibility that one of these claims are true? Could it be that the myth created from the novels that portray Sanada Yukimura as a legendary figure was the inspiration for random people to devise such plans that support the notion of Nobushige having survived the Osaka campaign? This goes against the official report by the Tokugawa shogunate where, despite soldiers claiming to have brought back the head of this fearless warrior, they were able to confirm his death through using an acquaintance of the Sanada clan to identify the correct head of Nobushige.

Image of a newspaper article from 1941 regarding the discovery of a grave of Yukimura’s grandchild. From “Rekishi Kenkyu Unno“.

In the actual records before Nobushige’s untimely death, the name “Yukimura” doesn’t come up at all. However, it becomes widely used later. In reality, surviving records show that this figure is known by the name of Nobushige, along with other titles he took on during his military career⁴. While he is a recognized warrior of the Sanada clan, Nobushige’s military career is somewhat underwhelming. When comparing merits and achievements, it appears that a few of his predecessors accomplished more. For instance, his father Masayuki is a much more renown individual due to his illustrious career on and off the battlefield serving different lords, including his long time servitude under Takeda Shingen as one of his top 24 generals.

BIRTH OF “YUKIMURA”

When does the name “Yukimura” start to come into play? The earliest example is in the war chronicle “Nanba Senki”⁵ (難波戦記), which was written in 1672, years later after the Tokugawa Shogunate was well established and had complete rule over Japan. This covers the actual events that unfolded during the Osaka Campaign, told from the supportive side of Tokugawa Ieyasu and his allies. When it comes down to speaking about the Sanada clan and their forces, who were on the opposing side, the name used to identify Nobushige was not his real name, but “Yukimura” instead.

This trend continued, as the name Yukimura also appeared in other places, such as the official family registry for lords and their retainers called “Kanseichōshu Shokafu”(寛政重修諸家譜), the Sanada lineage & history compiled in Matsushiro district (present-day Matsushiro Town, Nagano), as well as fictional war novels such as “Chibō Sanada Yukimura” (智謀真田幸村) and “Sanada Sandaiki” (真田三代記). These were all written during the Edo period. The continuous use of this name gave many the perspective that this was the official name, thus the Yukimura tag further its inclusion in historical-related subjects, especially in pop culture. For example, fans of manga may be familiar with the heroic portrayal of Sanada Yukimura in “Goshimei Bushō Sanada Yukimura: Kageroi” (御指名武将真田幸村 かげろひ -KAGEROI-), or game enthusiasts may enjoy playing as him in the video series “Sengoku Basara” (戦国BASARA).

One would think through the evidence of Nobushige being his real name, that the current descendants or affiliates of the Sanada line would dispute this fabricated name being used as almost an official identification. Surprisingly, it appears that the name “Yukimura” has not only been accepted, but also promoted as well. As mentioned before, a Sanada lineage chart was officially released from Matsushiro domain many years ago. This was under the control of Sanada Nobuyuki (真田信之) & his descendants at one time, and they compiled this lineage chart which includes Yukimura⁶. It is possible that, due to the large recognition and popularity the name brings to the history of the Sanada clan, that they have “accepted” Yukimura being a nickname of Nobushige.

THE REASON BEHIND THE NAME

Why use “Yukimura” instead of “Nobushige”? It is not 100% confirmed, but there appears to be some logical patterns behind this. For starters, it is not unusual in Japanese documents of old to change a particular figure’s name if they were on the losing side. Doing so may imply some things, such as if they are viewed as significant or not, referencing the actual individual directly may be a taboo, or in order to take some creative liberties with their story. From another point, changing Nobushige’s name may indicate a little of each of what was just mentioned with the following explanation.

A historian by the name of Atobe Ban published a book entitled “Sanada Yukimura ‘Eiyū Densetsu no Uso to Shinjitsu'” (真田幸村 “英雄伝説のウソと真実”) in 2015. In this book, Mr. Atobe explains how Yukimura (幸村) is an acronym for certain traits of the Sanada clan that bears some weight depending on how one views it⁷. He does this by dissecting the name into separate components.

Cover of Atobe Ban’s book regarding the facts and fiction surrounding Sanada Yukimura

Taking the first character Yuki (幸), the pronunciation is used for naming purposes. This character was originally used in the given name of different members of the Sanada family (such as Nobushige’s father, Masayuki), as well as the preceding clan they originate from, being the Unnō family. Bearing positive meanings such as “bountiful harvest”, “good fortune”, and “happiness”, it is no wonder why Yuki would be an acceptable component in a given name. Yet, why wasn’t Nobushige named in a similar vein? Who knows. Possibly as a nod to this, the writer of Nanba Senki may have thought the same thing when conceiving the name Yukimura.

Now for the last character mura (村). This character is in reference to the Muramasa (村正), a type of sword forged in the style by the famous swordsmith named Sengo Muramasa (千子村正). There are supposedly 2 theories why “mura” is used, but they arrive to the same conclusion.

  • The 1st one is that Nobushige, his troops, and even possibly other members of the Sanada clan used the Muramasa (村正) swords as their preferred style of blades. While there is no proof regarding this, it is one that is also not unreasonable. Muramasa swords are known for their sharpness, to the point that they would cut and harm everything and everyone indiscriminately…including the wielder (more on this in the 2nd theory). For the sake of war, these types of swords were ideal and sought after. Between the late 1400s to throughout the 1500s the Muramasa swords were mass produced and said to have been used by many throughout Japan. It would make sense that the Sanada clan would also add this to their equipment.
  • The 2nd theory spurs from Tokugawa Ieyasu’s superstition regarding the Muramasa swords. It is stated that from his youth onward, he had repeated bad experiences with these popular swords, despite the fact that it was originally a favorite in the Tokugawa household. At one time, when inspecting this type of sword, he had cut himself when drawing out this blade from its scabbard. As he got older he viewed the Muramasa to be bad luck to him and his family line, as he saw it having the possibility of bringing his family line doom. Once establishing his reign over Japan, it is said that Ieyasu ordered these Muramasa swords banned, and to have them be dismantled. Now, seeing how strongly he was against this type of sword, you can imagine how this can be applied to those who were his enemies and how they willingly armed themselves with Muramasa swords. Interestingly, it is recorded that the Sanada clan were extremely difficult to defeat due to their unconventional battle tactics and their resourcefulness. Ieyasu and his allies had many difficulties with subduing them during the battle at Sekigahara and Osaka Campaign. You can say that Nobushige (Yukimura) was like the Muramasa, as he was a thorn in the side of Tokugawa Ieyasu that could not be overlooked.

CONCLUSION

Now that a clearer picture of who the real Yukimura/Nobushige was, we’ll end part 1 here. While there is a definitive record of who he was up until his speculated death, in actuality there are some things that remain unclear due to a lack of proper documentation, as well as claims made by Sanada supporters. Part 2 will continue with looking at the fictional Yukimura, traits and items that are iconic to him, and how they may have been inspired by real life evidence associated with Nobushige.


1) You can access it by clicking on the “Translations” tab from the menu above, or you can go directly to the Kai Kokushi page here.

2) In actuality, Nobushige was active much earlier than this. Since 1592 he, his brother, and father were serving Toyotomi Hideyoshi, handling different tasks over the years such as managing Nagoya Castle in Bizen Province (present-day Saga Prefecture), taking part in the construction of Fukumi Castle in Kyoto, and occupying Ueda Castle in Nagano Prefecture.

3) Out of these kagemusha, 5 have been identified. Their names are Mochizuki Yoemon (望月宇右衛門), Yamada Kichibei (山田喜知平), Anayama Kosuke (穴山小助), Takabashi Shikibu (高橋式部) and Anayama Ichiemon (穴山市右衛門).

4) These names include Genjirō (源次郎), Saemon-no-suke (左衛門助), and Kōhakusai (好白斎)

5) Another name for this is “Osaka Gunki” (大阪軍記)

6) Some writers such as Hirayama Masaru wrote about this point. Originally, Sanada descendants in Matsushiro domain compiled “Sanada-ke Bunsho” (真田家文書, Records of the Sanada Family), which included a lineage chart. Within this only the name “Nobushige” was used. At a later date, this was converted to “Sanada-ke Keifu” (真田家系譜, Genealogy of the Sanada Family), which would include the name “Yukimura”. These were both produced during the Edo period.

It appears that these descendants accept the “Yukimura” name as being used for Nobushige after the Osaka Campaign. That doesn’t necessarily mean they believe Nobushige used it himself.

7) Apparently there is another way to write the name. In relations to the news report about the discover of his grandchild’s grave in Kagoshima made in 1941, supposedly a gravesite for Yukimura was also found. On the headstone the name “Yukimura” is on it, but using the characters “雪丸”. These characters may have been used to keep his grave hidden…that is, if this story is true.

Translation 101: Understanding Old & New Japanese

Translating Japanese into one’s native language is a skill of its own. Depending on area of interest, some prior independent or specialized study & research is required when attempting to transcribe info from one language to another. It is separate from just studying the Japanese language alone; even for a native Japanese person, attempting to explain the contents of something they have never heard of or are unfamiliar with is a very difficult task. For those individuals who wish to go down the path of translating, years of exposure to said field of interest, along with lots of trial and error is needed in order to get a proper grasp. 

In the case of older Japanese documentation on martial & military-centric topics, it is imperative to be familiar with the time period the document was written versus modern day standards in order to understand the differences. For instance, when reading older Japanese texts, it is common to see the use of kanji (漢字, Chinese-derived written characters) that differ from the ones used for the same words used today, yet need to distinguish if there are any similarities at the same time.  As an example, here’s an entry from Buyō Benryaku (武用便略), an 8-volume compendium of general items, gear, and practices used by warriors, martial artists, guards, and the like. This was compiled by Kinoshita Yoshitoshi in the early Edo period. In the 6th volume, there is a section regarding methods of arresting wrongdoers, which also contains a short entry and picture regarding the mittsu dōgu¹ (三つ道具), which are staves with special implements on one end.

ANALYZING OLD & NEW TEXT

Below is the aforementioned page, followed by the original text and my translation.



三つ道具之圖

釻棒 
 
挟脵 今云桎
 
捻ル ヒネリという

右或番所ノ三道具ト云捕手ノ三道具ト云アリ

 
Picture of the mittsu dōgu (from right to left)

Tsukubō

Sasumata (known as a shackling tool nowadays)

Nejiru (called “hineri” as well)

To the right are some of the tools you will find in a guardhouse, called the mittsu dōgu (3 tools). These are also known as the “torite no mittsu dōgu” (3 arresting tools).


In 2 other articles² I had mentioned about the mittsu dōgu. What’s interesting is the difference between how they are written in their respective sources. Below I will explain the kanji used for those mentioned in the Buyō Benryaku, and compare them with the modern day writing style.

1)
DESCRIPTION: Tsukubō is a T-shaped tool that a person would thrust at one’s target to push and pin them down. The barbs on the T-shape implement helps to increase its effectiveness.

tsuku・bō / 釻・棒 
The reading of tsuku (釻) is a unique one. Originally the name of the metal fittings that secures the string on a bow, it was later used to describe the 2 metal bars that protrude outwards at the end of a stick. Bō (棒) means “stick”.
 
Comparing this with the more modernized written version:

tsuku・bō / 突・棒
This tsuku (突) means “to thrust” or “to stab”. It’s pronounced in its plain verb form, which is unusual. This may have been done so the same “tsuku” pronunciation could be retained. The kanji for bō remains the same.

It can be said that the older kanji for tsuku is more descriptive to design, while the modern version indicates the manner to which this tool is used.

2)
DESCRIPTION: Sasumata has a U-shape implement on the end, and is used to capture a part of the body to hold a person down.

sasu・mata / 挟・脵
The use of sasu (挟) here can indicate “to grip from both sides”, “to sandwich inbetween” or “to trap”. Although used in this older document, this kanji is still used in modern times. For mata (脵), this is an older kanji that refers to the crotch or thigh. At times the kanji used for mata is “叉”, which is another older version that means the same thing.

If we compare this to modern written form:

sasu・mata / 刺・股
The kanji used for sasu (刺) here generally means “to stab”, but also has an alternative meaning of “to catch”. The modern-day version of mata (股) is used.

On a technical note, both versions of sasu are in their plain verb form. Although still a name, it is done so in an unusual manner. Also, while both versions imply catching a supposed criminal by their leg, sasumata wasn’t only used there, but could manipulate other parts of the body when necessary.

3)
DESCRIPTION: The purpose of the nejiru is to snag a person’s clothing, with the sleeve of the jacket being the main target.

nejiru / 捻る
There is only one kanji used here. Actually, an action verb is used as the name. Nejiru means “to twist” or “to wrench”. The name actually describes the action used, which is to twist this tool once it’s snagged onto a person’s clothing in order to capture them.

While the reading “nejiru” is correct, it seems to be an alternative name…or that there were other names used depending on group, area, etc. “Hineri” (ヒネリ) is also used, and, despite being written in katakana³ (片仮名, a written form that indicates the phonetics of words) in the text above, is an alternative pronunciation for the same kanji. Another name that was used during Edo period was “mojiri” (錑). In this case, it was viewed that there’s a technical approach to using the mojiri, which was called “mojirijutsu” (錑術). For the most part, all names indicate the physical motion of how this tool is used.

sode・garami / 袖・絡み
In modern times tools like this are universally called “sodegarami” (袖絡み), which means “sleeve-snagger”. This is probably due to its effectiveness to control a weapon-wielding suspect with the sleeve of a jacket being the target area. This is a more direct labeling that identifies its purpose.

UNDERSTANDING THE DIFFERENCES

Why are there different ways to identifying the same thing? There are some factors that play a role in this. For starters, since the time when when Japan adopted the writing style of kanji from China, there was no one universally accepted style of using the Japanese language. Before a standard was developed in the early 1900s⁴, there were different colloquial speeches depending on the prefecture, education, area of residence, group of association, and so on. As an example, within a group that lives in the south of Japan they may identify one thing with a particular label, but within another group that live in the North may use a different label.

This lack of standard also can be seen in the written style individuals used hundreds of years ago. In some cases a writer may have used one version of a kanji because it was what was familiar to him, yet another writer may choose to use a different kanji that had the same meaning just because that is what he was familiar with. This happened a lot if the contents were learned verbally, and had to be transcribed however the writer could do. Fortunately, furigana (振仮名, identifying kanji phonetically with kana next to or above it) was used in some older documents, which help to understand not only how to pronounce an unfamiliar kanji, but to understand what it’s describing in case it’s something that most are familiar with verbally.

Finally, some things were coded intentionally through aliases. This was possibly done to hide the real identity of a topic from those who are not part of a certain group. This was common practice in many martial systems and military manuals. Since guardswork and policing were also performed by martial artists, this practice also came into play. The downside to this is if the original term is forgotten and only the alias has been documented, it is hard to figure out what is being discussed if there are no pictures associated.

After the Japanese language became standardized, many older, unusual words & kanji were dropped, and replaced with modernized versions. If the change is minimum, it could be as small as replacing with modernize kanji that help making the reading easier. However, if the change is more drastic, some labeling could be replaced entirely with a new word. It’s points like these that make doing research important.

CONCLUSION

To sum up, it is important to learn how to research older documents to compare the contents to that which are known in modern context. This is important to remember for those who wish to be a translator of topics that have an old history. It’s impossible to think you’ll know everything no matter how related it is to your area of interest, or that you’ll remember every single word or kanji that you’ve come across. Keeping notes, having reliable sources for referencing purposes, and further updating one’s knowledge on said area of interest is critical in order to produce acceptable work.


1) This is not the only case where the term mittsu dōgu is used. It is a common one used to identify 3 things that are considered valuable or important. For example, in the same document used above, the jutte (十手), manriki (万力, nowadays known as the kakute [角手]), and hananeji (鼻捻) make up a unique category called “Kingoku no mittsudōgu” (禁獄の三つ道具), which were essential for handling imprisoned criminals. Next, there was 3 methods for shackling those who were held in captivity, which was by the hands, feet, and the neck. Then there are 3 different types of Japanese designed boats recognized at one point in time. Finally, 3 important farming tools necessary were the. suki (鋤, plough), kuwa (鍬, hoe), and kama (鎌, sickle).

2) Those two articles are here and here

3) Generally, katakana is used to indicate foreign words, unusual words, and visualizing sounds. However, it was also commonly used alongside with kanji in official government documents, books, manuals, and so on before modern times.

4) Small details about this effort to reform the Japanese language was discussed here

Hobaku: Visual Presentation of Edo Period’s Capturing Methods

In an article earlier this year I covered the numerous listings of Bugei Juhappan, which consist of essential 18 skills key to being a martial artist. In a few of these different versions were skills related to capturing and subduing, which fall under a category called hobaku (捕縛).

Hobaku is a term describing systematized skills for arresting and subduing criminals used by the policing force established during Edo period. Those who worked for the police and were responsible for apprehending criminals were high-ranking samurai and low-ranking warriors. Some of these skills used include torite (捕手), hojōjutsu (捕縄術), and using the mitsu dōgu (三つ道具). These skills originate from groups specializing in bujutsu training, thus training for the sake of proficiency was a must.

There is a famous illustration book called “Tokugawa Bakufu Keiji Zufu” (徳川幕府刑事図譜) published in 1893, which gives a visual presentation of various crimes that were committed during the Edo period, along with the punishment which criminals would face. There are several images that demonstrate how the methods of hobaku were used by those in the policing force, which give an idea why they were deemed important to those versed in martial arts. The scenarios in which hobaku was performed are specific to those involved, from petty theft by a commoner to treason by a nobleman. In some cases the criminal was apprehended discretely, while in other cases the arresting officers had to use force especially when others try to intervene.

For today’s article, select images that represent hobaku will be used to highlight specific skills and weapons listed on some Bugei Juhappan listings. Japanese text found on the top of these images will be posted in type print, and followed by English translations done by myself. To view the entirety of this illustration book, you can access it at the Meiji University Museum by clicking the link here. Note that while there is English provided to understand the contents of the images, the Japanese text on each image has no English equivalent present.


IMAGE #14

BACKGROUND: A temptress, who’s an accomplice of some criminal, weasels her way into the home of a rich merchant. The merchant is tricked into allowing her to stay in his home, while his wife is forced to cook and serve the temptress. The wife and her child are treated poorly, while the merchant is at odds of how to deal with the temptress’ schemes. (reference image #2)

In the picture above, an officer who was informed of the situation makes a sudden entry and quickly apprehends the temptress.

Not bearing his standard ropes, he uses an improvised method where her hands are brought behind her back, with strings tied to her thumbs and attached to the back of her hair.

One can imagine that being subdued in such a method would make any attempts to escape painful.

TEXT ON IMAGE

“In this image, a magistrate is able to make use of a short string, twine, and the like for capturing when a criminal needs to be immediately subdued, but standard torinawa (捕縄, binding rope) is not available. The capturing technique “Tabo*” is applied, where both hands are twisted behind, and both thumbs are joined together tightly.”

*This name is written only in kana, thus meaning is obscure


IMAGE #15

BACKGROUND: The hideout for a group of thieves. After a careful investigation by a constable from the magistrate’s office, a well calculated raid was set into action. This was successful in putting a halt to any further schemes by the thieves. (reference image #3)

In the picture above, the leader of the thieves is arrested. A woman, who’s affiliated with the thieves, tries to interfere with a knife in hand. One of the arresting officers uses a jutte (十手, truncheon) to knock the knife out of her right hand.

Other than their diligent work in completely subduing the main culprit, this image expresses the effectiveness of the jutte’s non-lethal strength.

On a separate note, certain groups had an influence on the jutte techniques used by different policing forces at the time, such as Ikkaku ryū (一角流), Edo machikata Dōshin (江戸町方同心, Edo town officials) and Kyōto machi Bugyō (京都町奉行, Kyoto public authorities). Meiji University Museum has images of the types of jutte used up on their site, which can be accessed through link 1, link 2, and link 3.

TEXT ON IMAGE

“The striking area of the jutte is shown. The jutte is made out of steel. It measures around 1 shaku 5 sun (57 cm) in size. It also has a hook on the side which can be used to stop incoming attacks from weapons such as a sword.

When there are individuals who are willing to prevent the arrest of a criminal due to prior fondness, the 1st thing to do is to strike them in the right upper arm with the jutte. This method of capturing allows an arresting officer to render a target’s dominate arm useless. “


IMAGE #16

BACKGROUND: Illegal gambling is taking place openly in a field. Gangsters and thieves are putting money and goods up for bets. (reference image #4)

In the picture above, policing officials rush the area to break up the gambling ring, and apprehend those involved. They are using standard arresting tools for this, which include the uchikomi (打ち込み, rod with a loop on the end), yoribō (寄棒, baton), and kaginawa (鉤縄, rope and hook).

TEXT ON IMAGE

“(A) To make a capture, a loop is used to snare (a criminal) by the throat.”

“(B) The method for capturing the criminal is used during pursuit. To overtake the criminal, a stick is thrown inbetween his legs to knock him down. “

“(C) The capture here involves prepping a hook. When the hook is attached onto the criminal’s clothing, a rope is pulled against the throat. Utilizing a rope to pull down a person when their limbs cannot be tied is situational-based.”


IMAGE #20

BACKGROUND: A criminal brandishes a sword in order to resist arrest. He is extremely dangerous, and difficult to take alive.

His pursuers attempt to make an arrest in a non-lethal manner by forming a cage around the criminal with four ladders linked together. Others use barbed implements known as mitsu dōgu (三つ道具, 3 tools for arresting & capturing)* in order to pin him down. These are the following:


Tsukubō (突棒, pinning tool)

Sasumata (刺股, immobilizing tool)

Sodegarami (袖搦, sleeve [clothing]-entangling tool)

*Also called torimono dogu (捕物道具, arresting tools)

TEXT ON IMAGE

“When dealing with criminals using martial techniques that make capturing difficult than normal, ladders are utilized to surround their target. From outside of the encasement are those with arresting implements that will be used to subdue the criminal.

The arrangement of the ladders are as shown in the picture. Four ladders are used in the formation where 2 are held sideways, while one is held above and another held below*. This pattern called i no ji (井の字, well formation) can defend against a criminal’s attempts to jump over and escape by being raised higher.

This capturing method involves gradually falling upon the criminal by closing the space in on him. Then they are able to use their arresting tools by thrusting them upon him to knock him down.”

*Description is based on how the ladder formation appears visually in the image. In reality all 4 ladders are on the same level.


These four images give a glimpse of how hodaku was utilized. Keep in mind that as a whole, the specifics of hobaku were considerably vase and layered; while those who were in the policing force were authorized to use arresting techniques, they still had to follow specific protocols related to an individual’s title and/or societal position. As an example, the manner in capturing a commoner could vastly differ to that of an elite family or of samurai status. This included the type of arresting ropes used and how the knots were made.

This concludes the visual presentation of hobaku used during Edo period. As an elementary approach on such a topic, I hope that the contents were informative for all. For those who want to view the entirety of Tokugawa Bakufu Keiji Zufu remember to visit Meiji University Museum’s website, which can be accessed here.

Kuki Archives: Opposition against Yoshitaka’s Retirement

It’s been a while since I’ve posted anything regarding famous members of the Kuki clan. For those not familiar with this, I have a good number of posts regarding the Kuki family and their history as an influential group both in religious practice and military conflicts. Although I do have a topic related to them I was planning to post later this year I will be speaking about a new one that just came to my attention.

A few days ago a report appeared in The Sankei News, a Japanese online news site, about the discovery of a note written by Kuki Yoshitaka shortly after Toyotomi Hideyoshi’s death in 1598. Yoshitaka promised he and his son Moritaka will not retire from service under the guise of a monk. What does this mean, exactly? I looked further into the subject and found more info regarding this matter. Below is the actual note, along with the original Japanese.

The original letter is from Sakai Museum in Osaka, Japan. Both images are from the website Toby City

A quick explanation of the contents, Yoshitaka is promising that there will be no attempt to retire by taking up the guise of one who wants to become a monk without the permission of Toyotomi governing body. On the note, along with Yoshitaka and his son’s signatures are those of 5 magistrates who were involved in structuring Toyotomi Hideyoshi’s governing body, along with their personal seals¹:

  • Natsuka Masaie
  • Ishida Mitsunari
  • Mashita Nagamori
  • Asano Nagamasa
  • Maeda Gen’i

A key word that is associated with this is “hōtai” (法体). Taking such action as hōtai was not uncommon for those warriors who’ve spent most of their career performing military duties to retire by shaving their hair off, and living the remainder of their lives away from normal civilization such as a temple…even if they don’t officially take up vows to become a monk. It is known historically that soon after Hideyoshi’s death that Yoshitaka stepped down as head of the Kuki clan, and made his oldest son Moritaka take up the responsibilities of handling military affairs as the next successor. This was the case since, if we use this note as proof, there was no option for him to retire at a temple as a monk.

Let’s delve into this point a little more deeply. What is so significant about Kuki Yoshitaka retiring soon after his master passed away? For starters, it shows his loyalty to only Toyotomi Hideyoshi. It is also symbolic, that Yoshitaka too “died” with his master, and that he would live his life peacefully away from the turmoil in life wearing monk’s clothing and taking up a Buddhist name. This is not so different from what Hosokawa Fujitaka (father) and Hosokawa Tadaoki (son) did when Oda Nobunaga, Hideyoshi’s predecessor, died during the attack at Honnoji in 1582. Both father & son were in the same position where they expressed undying loyalty to Nobunaga, thus retired from military service by becoming monks.

On the other hand, Kuki Yoshitaka was a seasoned commander who was reaching an age where he may have been tired of fighting. On top of this, right before Hideyoshi’s death he had participated in the 1st invasion of Korea (1592-1598), where he and others were met with a very sour and disheartening defeat, especially in the hands of the Korean navy. It may very well be possible that these factors contributed to Yoshitaka to consider retiring through hōtai. Reason for this is while serving Oda Nobunaga he had much success and received many rewards, yet did not attempt to retire after Nobunaga’s untimely death. Still, this is just speculation.

At the end of the day, the discovery of this note by Kuki Yoshitaka is very significant. Documentations like these help to piece missing information about certain people or events from the past. For those who are interested. I have written numerous articles about the Kuki family and key events in their history, including Kuki Yoshitaka’s career from start to finish. These are under the series title “Kuki Archives”, which you can do a search for. To read the posts about Yoshitaka’s directly, here’s the links to part 1 and part 2.


1) On the actual note, all participants identified themselves by their family names, then by their appointed titles.

Sakura and Kiku: Iconic Flowers of Japan

Out of the many colorful and visually appealing flowers of Japan, which would be considered Japan’s national flower? Many would consider cherry blossoms (known as sakura¹ in Japanese) due to its popularity culturally and socially, as well as its symbolic use in pop culture. Yet, would you be surprised to hear that it may have a contender for that position, which can be chrysanthemum (pronounced as kiku² in Japanese)? Could it actually be both? For this post, we will look at both cherry blossoms and chrysanthemum’s growing presence from Japan’s ancient past to the modern age of present times, and how they’ve been incorporated into the culture as iconic flowers in their own rights.

BEGINNINGS OF THE CHERRY BLOSSOMS

It is said that cherry blossoms became popular around the middle of the Heian period (794 ~ 1185). At the time, it was dotted on by Emperor Daigo in the use of poetry from the year 905. Before that, a flower that caught the eye of the upperclass was the plum blossom known as “ume” (梅). Researchers have determined this through the review of an older text called “Manyōshū” (万葉集), which features many poetic songs based on various topics including flowers. Many of these songs pertain the word plum blossoms in them. On the other hand, there isn’t at many songs regarding cherry blossoms. Since this book has been actively used among the imperial family years in advance, we get an idea that the cherry blossom’s popularity was initially not as old as one would think.

Pic of Emperor Daigo. From Wikipedia.

When appeal shifted in the favor of the cherry blossom, it’s possible that Emperor Daigo’s liking of this flower contributed to this through the following episode. In a 6-volume collection of recorded historical events called Kojidan (古事談), there is an entry regarding the 4th son of Emperor Daigo, Shigeakira (重明), who greatly admired cherry blossoms when he was little. He liked it so much that within his living quarters he had cherry blossom trees grown there. In the Shishinden (紫宸殿), the ceremonial grounds where the children reside within the Imperial palace’s, had plum blossom trees grown all around, which was commonplace. One day, the Shishinden caught on fire and was burnt down, including the plum blossoms trees. In some time it was rebuilt, but in place of the plum blossom trees, Shigeakira moved his cherry blossom trees to inhabit the new Shishinden. It was because of this incident that cherry blossoms grew to be among the Imperial families and noble families.

Eventually, cherry blossoms became popular among the populous throughout Japan. Cherry blossom trees were grown in different regions. Many admired its beauty, as well as its characteristics. For example, after cherry blossoms have fully bloomed, their petals fall off gradually. The falling petals are liken to snow, and if they are present during a snowy day³ they tend to be labeled as “yukizakura” (雪桜). Appreciation for its beauty was often shown as prints on clothing, as well as in ukiyo-e (浮世絵, woodblock painting). Bushi, or warriors of old also took favor of this flower in numerous ways during the Sengoku period (1467~1615), such as likening the wondrous bloom and slow, yet delicate, petal falls of the cherry blossoms to the the short life of a warrior who can claim greatness, yet have his life disappear at a moment’s whim. A popular phrase representing this is the following:


「花は桜木 人は武士」
(Hana wa sakuragi hito wa bushi)

“among flowers, the cherry blossom tree
among men, the warrior”


This basically refers to the cherry blossom being the best compared to other flowers, just as the warrior class was viewed as the more superior class of them all.

Cherry blossoms would be used as a sign of nationalism in various ways even by the Imperial army during the Meiji period (1868~1912) onward. This would last until the ending of WWII.

BEGINNINGS OF THE CHRYSANTHEMUMS

Chrysanthemum is a flower which was incorporated into the lifestyle of Japan by those who brought it over from China. This was around the time when the fashion, art, and etiquette of Chinese culture had a great influence in the development of Japanese society. There are different types of the chrysanthemum, which are listed in different ancient Chinese texts such as “Liji” (礼記, Book of Rites). It’s speculated that chrysanthemum was introduced to Japan around the 5th century, close to the ending of the Heian period. It’s 1st appearance within Japanese documentation is said to be in a 25-volume set of historical texts entitled “Ruiju Kokushi” (類聚国史, Topics related to National History of Japan), compiled in 892. One of the well-known lines that mentions it is located on the 11th page within the song verses in the 12th volume, section #715, which goes as the following (accompanied with my own English interpretation):


「己乃己呂乃 志具礼乃阿米爾 菊乃波奈 知利曽之奴倍岐 阿多羅蘇乃香乎」
(Kono goro no shigure no ame ni kiku no hana chirizo shinu beki atara sono ka o)

“Around this time, as the Autumn rain falls on the chrysanthemums
they will be scattered and surely die
oh so tragic what will befall their fragrance.”


On a literacy level, familiarity with the chrysanthemum can be said to have been among those who were wealthy and educated, such as the Imperial and noble families. It may have been appreciated by them as early as Nara period (710~794). For example, in the Manyōshū there are few poetic songs about it.

Popularity for this flower continued to grow, as the chrysanthemum would later appear within waka-style poetry⁴ in a Heian period book called “Kokin Wakashu” (古今和歌集, Collection from Ancient and Modern Times), which was a text conceived by Emperor Uda (宇多天皇), and later published through the order by his son & successor Daigo. Since it was an Imperial text, it too had great influences on other nobles, who would also grow to appreciate chrysanthemums a great deal.

Chrysanthemum is an Autumn flower, since that is the time it blooms. It was a favorite of Emperor Gotoba (後鳥羽) during the early Kamakura period (1185~1333). So much that it was chosen to be the Imperial crest. It would also gain a good amount of attention during the Edo period (1603~1868) and was shown off throughout many areas in Japan.

THE MANY IMAGES OF FLOWERS

The following are examples of images inspired by both cherry blossoms and chrysanthemums.

Cherry Blossom-themed Family Crests / 桜家紋 (from Hakko-Daioda.com )

Chrysanthemum-themed Family Crests / 菊家紋 (from Wikipedia)

Woodblock Art / 浮世絵 (from ukiyo-e.org and Wikipedia)

EVERYDAY USE IN MODERN TIMES

Out of the 2 flowers, cherry blossom is greatly beloved by the general public in Japan. Cherry blossom is a Spring flower, which coincides with hanami (花見), or flower viewing festivities which take place early during the same season. During flower viewing, the blooming of cherry blossoms attract the largest crowds, and get a lot of press & advertisements. Some of the attention comes from products promoting it as a flavor for candy, drinks, and so on.

Cherry blossom is visually used in various mediums in pop culture. For example, it is not uncommon to see an exquisite character make an appearance in a scene in one of many anime, accompanied by cherry blossom petals. Or, they may fall and dance around the screen of one of many video games which may have a samurai-like character do an impressive barrage of attacks with a katana.

Chrysanthemum, on the other hand, grows during the Fall. Depending on people’s lifestyle, chrysanthemums are used in different ways. For starters, it is popular flower art and in ikebana (生け花, flower arrangements). There is a type that is also called “shokugiku” (食菊), as it is used as decoration for meals. Chrysanthemum has auspicious meanings, such as longevity and rejuvenation. Thus, one can find it as patterns on kimono, accessories, good luck charms, dishware, porcelain, even on the 50-yen coin. Depending on the occasion, different colored chrysanthemums (minus white ones) are given as gifts.

Chrysanthemums play an interesting role in religious-related activities. For example, there is a national day with Shinto origins called “Chōyō no Sekku” (重陽の節句), that falls on September 9. It is also called “Kiku no Sekku” (菊の節句), or Chrysanthemum Day. It is a festival of happiness. The holiday was established in 910 AD when the first chrysanthemum show was held. In another instance, this flower is used in Buddhist-related traditions for honoring the dead. White chrysanthemums are offered to deceased loved ones’ graves.

While cherry blossoms are viewed as the flower for the populous, chrysanthemum tends to be seen as the Imperial flower. For hundreds of years the Imperial family have decorated their grounds with this, that it was eventually made the official seal to represent them. A special seal called “Jūroku yae Omotegiku” (十六八重表菊, 16-Petal double-layered Chrysanthemum) is used, which was later made forbidden for use by any one other than those of the Imperial family at one point in history. In the 1920s, as a showing of national pride, Japanese citizens are issued a passport with a different chrysanthemum seal on it, called “Jūroku hitoe Omotegiku (十六一重表菊, 16-Petal single-layer Chrysanthemum).

Yet, another example of chrysanthemum emblems can be found in shinmon (神紋), which are special seals that belong to shrines. Just like family seals, shrine seals have been in use for centuries, and vary in appearance depending on the shrine. In this case of the chrysanthemum, there are many types of shrine seals that use this flower, which are still in use today. The same can be said about cherry blossoms being used as shrine seals as well.

ENDING

Flowers have had a great influence on Japanese society for ages. Cherry blossoms and chrysanthemums are possibly the most iconic, for whether we look back to the past or gaze around us in present times, they both stand out almost identically. There is no clear distinction on which of these two are considered the #1 flower of Japan, but it’s safe to say that, whether you admire one or the other, they both serve their purpose in representing the spirit of Japan.


1) 桜. A much older kanji of this would be “櫻”.

2) 菊. The modern way of writing this kanji (菊) is derived from an older one, which is “鞠”.

3) It wasn’t unusual for some cherry blossom trees to grow during Winter.

4) Waka is written as “和歌” in modern times, but used to be written as “倭歌” in ancient times. They both mean relatively the same thing, “Japanese songs”. Waka consists of unique poetic patterns, which includes tanka (短歌, short poems that follow a 5-7-5 pattern), and choka (長歌, long poems which follow a 5-7-7 pattern). Another name for this style of poetry is Yamatouta (大和歌), which also has the same meaning.

Bugei Jūhappan: The Multifaceted Listings of 18 Weapons

A rather popular list of martial disciplines in Japan is called “Bugei Jūhappan” (武芸十八般). Many martial schools, books, and the like talk about its significance, which has also made its presence to the West. What is the story behind this list? How old is this concept, and how consistent is it? This post will help answer questions like these, as well as provide an overall explanation about certain details that are not readily available in English.

For this post, there’s information both from Japanese sources as well as Chinese sources. A lot of cross-referencing and research was especially done to understand the Chinese information below, and I’m hoping there’s no glaring mistakes, although any corrections are welcomed. Here’s a list of some of the sources used:

ORIGIN AND ROOTS

Bugei Jūhappan loosely translates to “standard 18 martial skills”. Pretty self-explanatory, it is a list of 18 disciplines, primarily weapons, related to martial combat. This is a widely used method for noting what the average martial artists should aim for. However, understand that before this became popular in Japan, this concept was used first in China several centuries prior. 

A portrait of Hua Yue, author of “Cui Wei Bei Zhenglu” (翠微北征録, Northern Expedition of Cui Wei). From zwbk.org.

Within China’s martial and literature culture was the development of a conceptual grouping of 18 skills based on weapons generally called “Shi ba Ban bing qi” (十八般兵器)¹. The 1st source for this was through dramatic performances done from the Song Dynasty to the Yuan dynasty. Here, 18 weapons were mentioned in the lines done by two separate actors, Wang Huan and Jingde. This later would inspire it being used in a 12-volume documentation entitled “Cui Wei Bei Zhenglu” (翠微北征録, Northern Expedition of Cui Wei) by Hua Yue (華岳), which was completed in 1208. Next, several documentations were made during the Ming Dynasty (1368-1644) which featured their own versions of 18 weapons, which includes:

  • Fictional storybook “Shui hu Zhuan” (水滸傅, The Water Margin), by Shi Naian (施耐庵), sometime in 1300s
  • Illustrated encyclopedia “Sancai Tuhui” (三才圖會, Collected Illustrations of the Three Realms), by Wang Qi (王圻) and his son Wang Siyi (王思義), published in 1609
  • 16-volume “Wu za zu” (五雜俎, Five Miscellaneous Offerings) compiled by Xie Zhao-zhe (謝 肇淛), in 1619
  • 32-volume “Yong-chuang Xiao-pin”  (涌幢小品, Miscellaneous Notes from the Yong-chuang Pavilion) compiled by Zhu Guozhen (朱國禎), in 1621

There are also other sources with their own version of 18 weapons, including the famous Shaolin Temple². Below are examples of the different lists.

Shui hu Zhuan

  • 矛 = mao (spear with snake-like blade)
  • 錘 = chui (hammer)
  • 弓 = gōng (bow & arrow)
  • 弩 = nu (crossbow)
  • 銃 = chong (rifle)
  • 鞭 = bian (iron baton)
  • 鐧 = jian (metal truncheon)
  • 剣 = jian (double-edge sword)
  • 鏈 = lian (three-sectional staff)
  • 撾 = zhua (claw-mounted polearm)
  • 斧 = fu (Battleaxe)
  • 鉞 = yue (crescent moon knives)
  • 戈 = ge (dagger-axe)
  • 戟= ji (spear with 2 crescent blades on the side)
  • 牌 = pai (shield)
  • 棒 = bang (club)
  • 槍 = qiang (Spear)
  • 叉 = cha (Trident)

Wu za zu

  • 弓 = gong (bow & arrow)
  • 弩 = nu (crossbow)
  • 槍 = qiang (spear)
  • 刀 = dao (single-edge broadsword)
  • 剣 = jian (double-edge sword)
  • 矛 = mao (spear with snake-like blade)
  • 盾 = dun (shield)
  • 斧 = fu (battleaxe)
  • 鉞 = yue (crescent moon knives)
  • 戟 = ji (spear with 2 crescent blades on the side)
  • 鞭 = bian (Iron baton)
  • 鐧 = jian (metal truncheon)
  • 撾 = zhua (claw-mounted polearm)
  • 殳 = shu (three-edge spear)
  • 叉 = cha (trident)
  • 耙 = ba (rake)
  • 綿縄套索 = miansheng taosuo (brocade lasso)
  • 白打 = da bai (empty hands)

Here’s another, called “Nine Long & Short weapons of the 18 Weapons” (九長九短十八般兵器), starting with the 9 long weapons

  • 槍 = qiang (spear)
  • 戟 = ji (spear with 2 crescent blades on the side)
  • 棍 = gun (staff)
  • 鉞 = yue (crescent moon knives)
  • 叉 = cha (trident)
  • 钂 = tang (spear with two crescent prongs)
  • 鈎 = guo (hooked weapons, such as hook swords)
  • 槊 = shuo (long lance)
  • 鏟 = chan (spade)

Next, the short weapons

  • 刀 = dao (single-edge broadsword)
  • 剣 = jian (double-edge sword)
  • 拐 = guai (tonfa)
  • 斧 = fu (battleaxe)
  • 鞭 = bian (Iron baton)
  • 鐧 = jian (metal truncheon)
  • 錘 = chui (hammer)
  • 杵³ = huan (iron rings)
  • 棒 = bang (club)
Snapshot of the 18 weapons normally used in theatrical performances. From Arachina.com .

Differences in the lists are due to various factors, such as which were important depending on the time period, land area, groups that had any affiliations, etc⁴. Due to this, there is no one definitive listing, although there tends to be a consistency on which weapons appear on most of these lists.

18 SKILLS OF JAPAN

The concept of 18 weapons as essential disciplines didn’t arrive to Japan until the late mid-1600s, when Wu za zu was 1st published in Japanese. Later to follow were the other Chinese literature mentioned above, such as Sancai Tuhui and Shui hu Zhuan. Chinese literature still had value during this time, so they continued to have influence in Japanese culture.

Picture of Hirayama Kōzō. From the book “Edo no Kengō: Hirayama Kōzō” (江戸の剣豪 平山行蔵)

In 1806, a renown martial artist by the name of Hirayama Kōzō (平山行蔵) from Edo published a book called “Bugei Jūhappan Ryakusetsu” (武芸十八般略説), which served as an adaption of the 18 weapons from the Shui hu Zhuan, but in a way where it fitted with the Japanese methodology towards combat. More than just focusing on a “weapon” (兵器), Hirayama Kōzō used disciplines or skills (武芸) as a means to identify those areas necessary during warring times while on the battlefield, and during peaceful times while in towns and indoors. The development of such a list comes after Japan’s warring history, and during a more peaceful society where martial skills could be structured and represented in a more systematic format.

Just like in China, the listing of 18 skills in Japan is not an exclusive one. There are also variations, each a reflection on what was deemed important in what time period it was made, who was involved in developing such list, and so on. For example, Maki Bokusen (牧墨僊)⁵, an artist who was once a student of the famous Katsushika Hokusai, made a version represented through his ukiyo-e series entitled “Shashin Gakuhitsu” (写真学筆) in 1815. Below are several examples of the 18 weapons listings in Japan.

Bugei Jūhappan Ryakusetsu

  • 弓 = yumi (bow). One type that is iconic is kiyumi (木弓, wooden bow that was common even in early Japanese history).
  • 李満弓 = rimankyū. This represents short bows, such as kujirahankyū (鯨半弓) and kagoyumi (駕籠弓).
  • 弩 = ishiyumi (crossbow). There were 2 types, shudo (手弩, handheld crossbows) and ōyumi (大弓, siege crossbows).
  • 馬 = uma (horsemanship). Refers to bajutsu (馬術, equestrian).
  • 刀 = katana (sword). Refers to kenjutsu (剣術, sword techniques).
  • 大刀 = ōdachi (long sword). This includes nodachi (野太刀, long battlefield sword), and nagamaki (長巻, long sword with an extended handle).
  • 抽刀 = chūtō (drawing sword for cutting). More fitting label would be battōjutsu (抜刀術) or iaijutsu (居合術) .
  • 眉尖刀 = bisentō. Considered a polearm with a smaller blade, liken to a konaginata (小薙刀, small glaive)
  • 青竜刀 = seiryūtō. Considered a polearm with a larger blade, liken to an ōnaginata (大長刀, large glaive)
  • 槍 = yari. This is the spear, with variations including jumonji yari (十文字槍, crossbar spear) and saburi yari⁶(佐分利槍, a spear with prongs for hooking).
  • 鏢鎗 = hyōsō. This is known as nageyari (投槍, throwing spear) and hiya (火箭, fire arrows)
  • 棍 = kon. Generally called (棒, staff)
  • 鉄鞭 = tetsuben. Japanese equivalent would be tessen (鉄扇, iron fan) or jitte⁷ (十手, straight metal tool with a small prong used for arresting)
  • 飛鑓 = hiken (ひけん). Said to be related to fundō kusari⁸ (分銅鎖, chain with 2 weighted ends), kusarigama (鎖鎌, chain & sickle), and koranjō (虎乱杖, staff with a concealed chain)
  • 拳 = Yawara. Also known as jūjutsu (柔術, hand-to-hand)
  • 銃 = ju. Equivalents are teppō (鉄砲, gunnery) and taihō (大砲, artillery)
Select artwork of different weapons in use from the “Shashin Gakuhitsu”. From “Zuzetsu-Kobudōshi”.

Shashin Gakuhitsu

  • 弓術 = kyūjutsu (archery)
  • 馬術 = bajutsu (equestrian)
  • 水泳術 = suieijutsu (swimming techniques)
  • 槍術 = sōjutsu (spear techniques)
  • 鎖鎌術 = kusarigamajutsu (chain & sickle)
  • 薙刀術 = naginatajutsu (glaive techniques)
  • 剣術 = kenjutsu (sword techniques)
  • 居合 = (sword-drawing)
  • 補縄術 = hōjōjutsu (rope-tying a captured opponent)
  • 鼻ねじ = hananeji (baton with a rope used for arresting)
  • 手裏剣術 = shurikenjutsu (small bladed throwing weapons)
  • 鉄砲 = teppō (gunnery)
  • 石火矢 = ishibiya (cannons)
  • 柔術 = jūjutsu (hand-to-hand)
  • 騎射術 = kibajutsu (fighting while on horseback)
  • 甲冑伝 = kacchūden (understanding how to wear armor)
  • 打毬術 = dakyūjustu (cavalry game using a netted pole and a ball, similar to polo)
  • 水馬術 = suibajutsu (crossing rivers, lakes, etc. while on horseback)
An image of dakyū, as illustrated in the book “The Mikado’s Empire (ミカドの帝国)”. From Wikipedia.

Version from the Japanese Dictionary

  • 弓術 = kyūjutsu (archery)
  • 馬術 = bajutsu (horseback riding)
  • 槍術 = sōjutsu (spear techniques)
  • 剣術 = kenjutsu (sword techniques)
  • 水泳術 = suieijutsu (swimming techniques)
  • 抜刀術 = battōjutsu (sword drawing techniques)
  • 短刀術 = tantōjutsu (knife techniques)
  • 十手術 = jittejutsu (straight metal tool with a small prong used for arresting)
  • 手裏剣術 = shurikenjutsu (small throwing blades)
  • 含針術 = fukumibarijutsu (mouth-activated device that sends forth needles, blinding powder, and other concealed items)
  • 薙刀術 = naginatajutsu (glaive techniques)
  • 砲術 = hōjutsu (artillery)
  • 捕手術 = toritejutsu (restraining techniques through grappling)
  • 柔術 = jūjutsu (hand-to-hand techniques)
  • 棒術 = bōjutsu (staff techniques)
  • 鎖鎌術 = kusarigamajutsu (chain & sickle techniques)
  • 錑 (もじり) 術⁹ = mojirijutsu (techniques for subduing criminals by snagging their clothing with a polearm featuring many barbs on one end)
  • 隠形術 = ongyōjutsu (concealment and protection techniques)

This next one is considered a popular version at some point

  • 弓術 = kyūjutsu (archery)
  • 馬術 = bajutsu (equestrian)
  • 剣術 = kenjutsu (swordsmanship)
  • 短刀術 = tantōjutsu (knife techniques)
  • 居合術 = iaijutsu (sword-drawing)
  • 槍術 = sōjutsu (spear techniques)
  • 薙刀術 = naginatatjutsu (glaive techniques)
  • 棒術 = bōjutsu (staff techniques)
  • 杖術 = jōjutsu (short staff techniques)
  • 柔術 = jūjutsu (hand-to-hand)
  • 捕縄術 = hōjōjutsu (rope-tying a captured opponent)
  • 三つ道具 = mittsu dōgu (three arresting tools, which consists of sasumata [刺股], tsukubō [突棒], and sodegarami [袖絡み])
  • 手裏剣術 = shurikenjutsu (small throwing blades)
  • 十手術 = jittejutsu (straight metal tool with a small prong used for arresting)
  • 鎖鎌術 = kusarigamajutsu (chain and sickle)
  • 忍術 = ninjutsu (espionage and sabotage)
  • 水泳術 = suieijutsu (swimming)
  • 砲術 = hōjutsu (artillery)

SIGNIFICANCE IN THE NUMBER “18”

When reviewing these lists, or on a larger scale, how skills are categorized in Japanese martial systems, you’ll notice that there tends to be extra skillsets that are grouped in with others, either as a sub-skillset or a paired one. In reality, there was a much greater number of skills that were essential for warring times, as well as peaceful times. Looking at Hirayama’s list, there are extra weapons based on design, which affect their usage. Also, some categories are broad, and can incorporate more weapons. For starters, teppō is a general term for gunnery, which includes various types of firearms such as rifles, pistols, and the like.

What is the significance of the number ’18’? As far as it can be told, nothing has been discovered. Just how old is this concept when it was first becoming publicly known in China is uncertain; if it goes much further back before 18 weapons was mentioned in those performances, then it’s possible the the meaning has been lost. As it became a standard term among martial artists both in China and Japan, its usage was certainly to outline what a person should strive to be verse in if they wanted to become a complete warrior. Mastery of all 18 skills, along with others not mentioned on those lists, was not expected, since each culture held certain weapons with higher regard than others.

ENDING

This concludes our discussion on the origin of the Bugei Jūhappan, along with its numerous interpretations both in China and Japan. As a concept, it works as a reference to which weapons and skills were deemed important based on the time period. Even today, many martial schools not only reference the Bugei Jūhappan, but also build off of it to express to their students what martial skills are connected to what they are studying.


1) Also written as “Shi ba ban wu yi” (十八般武芸, the 18 skills or martial arts). There is another labeling in the form of “武芸十八事”, but this may be a generic, modernized label.

2) From what I can tell, the “18 weapons” of the Shaolin Temple is more figurative. In reality, the weapons focused on exceed 18.

3) Traditionally written as “環”

4) These weapons, while having historical ties with Chinese culture as a whole, have unique backgrounds for being dotted upon. For example, many of the longer weapons came from dealings with the Mongols, while the shorter weapons were designed for use in local areas like towns. Most of weapons that appear in the Chinese version of 18 weapons are pretty old, and may have been associated to specific families for many generations.

5) Also goes by the name “Gekkōtei Bokusen” (月光亭墨僊)

6) Actually, the proper name for this is kagiyari (鍵槍, hook spear). On the other hand, “saburi” is from the name of a style that specializes in the use of kagiyari, Saburi ryū sōjutsu (佐分利流槍術).

7) also can be pronounced as “jutte”

8) also called kusari fundō (鎖分銅) and manriki kusari (萬力鎖)

9) To speak a little further on this, the word mojiri means to “twist” or “wrench” something using some force. As a hobakugu (捕縛具, arresting tool), one can imagine using this in such manner to control someone if it snags firmly onto their clothing. Another name for sode garami (袖絡み), which has a similar meaning.

Phases of Martial Structuring: Buke shohatto

We’ve arrived to the last part regarding the martial structuring that took place during the generations when Japan still was under feudal rule. Today’s post will be on the “Buke shohatto” (武家諸法度), which was generally seen as a uniformed martial system recognized by all throughout Japan. Unlike the others discussed before, where different factions were influenced to adopt the latest weapons and strategies in order to defeat any opposition that may come their way, Buke shohatto was enforced by the ruling power upon those of the warrior class in a way where the whole populous was affected. In reality, it was but one of many different types of regulations imposed on the people during the Tokugawa shogunate. For this article, we’ll look at the roots of Buke shohatto, its components, and the pros & cons that came with it.

PURPOSE OF A LAW-DRIVEN GOVERNMENT
Buke shohatto is different from what one would expect of a so-called “martial system”. Instead of more of a systematic approach by groups with military strength to defend and fight against others for the sake of land or power, this defines the type of control one ruling power in a military state of a country would possess, and how that ruling power remains dominant, even without the dependency on all-out wars.

Artwork of Tokugawa Hidetada (1579-1632), 2nd Shogun during the Tokugawa shogunate. From Wikipedia.

Generally translated as “Laws of the Military Houses”, Buke shohatto is a set of 13 articles of rules. The groundwork for this was put into place by Tokugawa Hidetada in 1615, based on the command of his father Tokugawa Ieyasu. Tokugawa Ieyasu who, at the time had retired from being Shogun, had introduced these rules to the feudal lords who gathered at a meeting at Fushimi castle in the same year. This period with the 13 rules set place was labeled as Genna rei (元和令, order of Genna period).

Originally in 1611, after Ieyasu had seized power of Japan, he created as an edict with 3 articles of oaths that daimyō (大名, feudal lords) who claimed loyalty to him and the new bakufu (幕府, military government) that was put into place, had to agree to. Later, high-ranking scholars working for the shogunate had presented 10 more rules that daimyō should agree on. Buke shohatto did receive some revisions, amendments, and additions over time, primarily by shogun successors. In the end, these 13 articles of rules were very strict, and had to be followed lest one wished to pay the consequences.

Major objective of creating the Buke shohatto was the following:

  • A means to control both daimyō families and warriors alike
  • Give a framework of a lifestyle individuals were to operate by in an era that was being created
  • Prevent any one group from rising & opposing the shogunate


13 REGULATIONS
Below are the original 13 regulations of the Buke shohatto¹. These are several pics of the rules in Japanese, followed by a modern translation in English. The translation comes from the Buke shohatto English page on Wikipedia.


  1. The samurai class should devote itself to pursuits appropriate to the warrior aristocracy, such as archery, swordsmanship, horsemanship, and classical literature.
  2. Amusements and entertainments are to be kept within reasonable bounds and expenses for such activities are not to be excessive.
  3. The han (feudal domains) are not to harbor fugitives and outlaws.
  4. Domains must expel rebels and murderers from their service and from their lands.
  5. Daimyō are not to engage in social interactions with the people (neither samurai nor commoners) of other domains.
  6. Castles may be repaired, but such activity must be reported to the shogunate. Structural innovations and expansions are forbidden.
  7. The formation of cliques for scheming or conspiracy in neighboring domains must be reported to the shogunate without delay, as must the expansion of defenses, fortifications, or military forces.
  8. Marriages among daimyō and related persons of power or importance must not be arranged privately.
  9. Daimyō must present themselves at Edo for service to the shogunate.
  10. Conventions regarding formal uniform must be followed.
  11. Miscellaneous persons are not to ride in palanquins.
  12. Samurai throughout the realm are to practice frugality.
  13. Daimyō must select men of ability to serve as administrators and bureaucrats.

On a martial arts-related note, daimyō families were able to train in martial skills while getting adequate education. Despite this privilege, the reality was many were busy with actual work or recreational activities, with very little chance to hone their skills in true confrontations. While they could still be formidable with a sword in their hands, their actual skills paled in comparison to the warriors of the warring age.

HARDSHIPS OF THE DAIMYO
As stated earlier, many influential families were allowed to became daimyō and own land. Due to their background, these families were privileged with the title “buke”, or warrior families, thus placing them in the “samurai” class. Take note that the term buke (military families) was not directed towards vassals to the shogun, nor warriors of the many domains. The former were called hatamoto (旗本), whereas the latter were labeled as hanshi (藩士). There were specific rules for them to follow, which will be discussed later.

Back on topic, the Buke shohatto kept daimyō families in check. For example, daimyō families received pay from the government in the form of koku (石), or bushels of rice. This was also payment by the daimyō families to those who worked for them. However, these families had to pay the bakufu in taxes, which was rice harvested in each families’ domains. Depending on certain factors, if output of rice was too low, then more taxes was placed on those specific families. This was a huge burden on many daimyō families, which prevented them from becoming too financially strong.

Another example is their travels to Edo (present day Tokyo) and visits to the Shogun while doing work there. On a yearly basis, at least one trip had to be made per the head of the household’s responsibility. Costs for this trip was expensive, and they were not given funds or compensation for making the journey. Furthermore, they had to follow certain protocols while making the trip to Edo. For instance, they could only be accompanied by a certain number of followers and horses according to their rank. This could pose a problem if their luggage, items, cargo, and so on was large while the traveling group had fewer members. The limitations on the numbers allowed to travel was to prevent attempts on taking over Edo, starting a war, etc.

WORKING AS A WARRIOR
As mentioned earlier, there were specific rules and regulations set aside for warriors that were not considered a “buke”. Some factors distinguished this, including receiving an income of jūman koku, or 100,000 bushels of rice. These rules are called Shoshi hatto (諸士法度), or otherwise known as Hatamoto hatto (旗本法度). This set of regulations surpasses the Buke shohatto in numbers, as there was 23 rules in total.

These regulations were first drafted in 1632, initially featuring 9 regulations. Later, this would be increased to 23 regulation in 1635 by Tokugawa Iemitsu, which is often the reason why most of the credit of its development goes to him. The intentions of the Shoshi hatto was to give warriors who worked for the shogunate and the daimyō families rules on how to conduct themselves in the new era being created by the Tokugawa shogunate, as well as give a framework of behavior and development they should aim for. In return, they receive an honest amount of compensation in the form of koku (rice). Of course, this gives warriors of all types an indication of the need to be employed in one way or another to benefit from this.

Two pages illustrating the regulations of the Shoshi hatto, from the book “Shiho Shiryo – Dai 170-go Tokugawa Kinreiko” (司法資料. 第170号 徳川禁令考)

Warriors that were employed as vassals (or otherwise known as retainers) directly under the Shogun were called hatamoto (旗本), while hanshi (藩士) that served directly under a daimyō were given the more proper title of gokenin (御家人). As one would expect, hatamoto are viewed as high-ranking warriors, since they answer directly to the shogun and can have an audience with him directly. gokenin are lower ranking warriors, as they don’t work directly with the Shogun. Also, hatamoto receive a higher stipend of koku than gokenin.

Having 23 regulations that needed to be observed and follow, there was a lot of pressure for these vassal warriors. The general premise that these regulations impose are the following:

  • Upholding loyalty
  • Maintaining a level for military service
  • Being ready for use of weapons and tools for war
  • Starting a family through marriage
  • Being mindful of one’s actions and conduct
  • Keeping good communication
  • Avoiding unnecessary quarrels
  • Understanding who takes responsibility during fires
  • Dealing with wrong doers and law breakers
  • Responsibilities on one’s fief
  • Handling boundary disputes
  • Correct protocol in handling territorial matters relating to political issues and regular civilians
  • Family management as head of his family

As mentioned before, the Shoshi hatto was separate from the Buke shohatto up until around 1683, which afterwards it became obsolete. Most of the regulations placed on vassals were consolidated and merged with the Buke shohatto at a later date.


PROS & CONS OF BUKE SHOHATTO
Now, let’s take a broader view of the Buke shohatto and how well it worked in allowing the Tokugawa shogunate to maintain rule and suppress any possible threats. There was obviously good points that came of this.

PROS

  • Unnecessary wars and conflicts were almost quelled completely.
  • A push for social and economical development could be seen over a course of time as many found new ways to survive through the form of business and constructive work, especially through contact with and the adaptation of technologies from Western countries.
  • Certain main roads necessary for travel by daimyō, tax collectors, inspectors, and so on were ordered to be developed by the shogunate. These roads being made accessible contributed to smooth relay of communications, delivery of supplies, and so on. In turn, these same roads were safer (at least during the day) and more frequently used by others such as merchants, monks, and regular civilians.
  • Piracy, as well as monopoly of the waterways was prohibited. This also included the construction of very large ships. In the end, seaports were developed for fair use and labor/transportation purposes
Artwork entitled, “Suehiro gojūsan tsugi Totsuka” (末廣五十三次 戸塚), this is a visual interpretation of a procession to Kyōto along a main road called Tōkaidō by the 14th shogun Tokugawa Ieshige, on his way to see the Emperor. He is accompanied by around 3000 armed attendants. By Utagawa Sadahide, produced in 1865. From ukiyo-e.org.

CONS

  • Certain measures were put into place to ensure obedience from daimyō. While effective in the grand scheme of things, ethically they are questionable. For example, daimyō had to comply with a system called “Sankin Kotai” (参勤交代), which basically was an agreement where as they did work for the Shogunate, one or several of their close relatives, such as wife and kids, had to live in Edo. Since these relatives were under surveillance, they were essentially prisoners. Any rash actions from the daimyō would put their lives at risk, so they had no choice but to be obedient.
  • A restriction was placed on the number of castles daimyō could own. Under the regulation called “Ikkoku Ichijo rei” (一国一城令), they were permitted to own only one castle in each land area. The reasoning behind this was to prevent the building of military strength by accumulating a large force, weapons, and supplies in a remote castle, or house them in a fort close by on their land. This was also to dissuade cooperation between different daimyō to join forces. In the process, many historical castles, forts, and the such had to be demolished.
  • On a larger scale, the Tokugawa Shogunate could not ensure complete peace and safety throughout Japan; while the Buke shohatto was to take care of this by leaving such management in the hands of the daimyō, in the long run there were still areas that were left unchecked or could not get full support just because the Shogunate wasn’t designed to do so.
  • As a balance measure for paying daimyō and others on a yearly basis, taxes were placed on everyone. These taxes came from the rice harvested in each area. Depending on their status, each daimyō had to deliver a certain amount. However, this did not take into consideration on certain factors, such as actual man-labor to produce the set amount, as well as if harvesting conditions were bad due to droughts and so on. This placed a lot of pressure on both the daimyō and the people on his land, which in turn influenced some to bribe tax collectors that would come visit their lands.
  • Lack of true financial support overall. For the most part, if areas needed any form of development, such as the construction of bridges, this was placed in the hands of the daimyō of that specific area.
  • Masterless warriors, such as rōnin (浪人) did not get the same support as retainers to the Shogun and daimyō did. In fact, they had to fend for themselves for the most part, with their focus being more on finding actual work. One route that could be taken was trying to set up their own legitimate martial arts system and open up a school in a particular area. For others, acquiring work that could use their talents, such as bodyguard, guardsman of a manor, police, investigator, an instructor, and so on. Labor work was aplenty throughout Japan as many towns were growing, so if these warriors could make the journey to areas where large projects were being conducted, then there was a chance to gain employment, if only for a short period of time.

There are other cases, both positive and negative, but those will continue to carry us further off topic. At the same time, this shows the impact that the rule-heavy society created by the Tokugawa shogunate had as a whole, as its influences reached much further off of the battlefield and into the reality that was becoming of Japan from the Edo period onward.

CONCLUSION
Buke shohatto is the last form of martial system of Japan when it was still a military country. It ended once the Tokugawa shogunate was overthrown by those wanting to return power to the Emperor in the late mid-1800’s, ushering a new, modernized governing system. This here closes the series on the martial structuring in Japan’s history. Much time was spent researching each part of this series, so it took longer to bring to completion than expected. I thank everyone for their patience.


1) To view the different iterations of the Buke shohatto, Shoshi hatto, and other regulations devised within the Tokugawa Legislation in English, there is a web archive that is currently accessible here.

Analyzing a Treasure from Ninjutsu of Old

On February 22nd, it is officially “Ninja Day” in Japan. This day is to honor the history and culture of the ninja, as well as the growing movement of adapting the lessons found in ninjutsu of old for innovation, to promote pop culture, tourism, and so on. As a form of tribute to this day, I’ve written a post on a treasure of ninjutsu, called Ninjutsu Kishōmon¹ (忍術起請文), which stands for “Ninjutsu Document of Written Vows to the Gods”. This post will include a brief background info, my translation of the document, as well as an analytical discussion to give a better understanding of this document.

THE WRITER BEHIND NINJUTSU KISHŌMON

The Ninjutsu Kishōmon was drafted by Kizu Inosuke in 1716, who became an inheritor of a ninjutsu system taught to him by Nagai Matabei. Inosuke is from Iga Province, which is home to many families who specialized in ninjutsu. As an agreement to his new inheritance, Inosuke wrote the Ninjutsu Kishōmon and gave it to his teacher.

This document was a form of agreement to uphold the strict ways of the ninja. If he had failed to do so, Inosuke promised to not only return everything he received from his teacher related to ninjutsu (this includes texts and ninjutsu-related tools), but to accept punishment from the gods. The Ninjutsu Kishōmon is a great example of how those inducted into the world of the ninja were sworn to secrecy, while taking the lessons & skills associated with ninjutsu very seriously.

After Inosuke’s death, this Ninjutsu Kishōmon made its way back to the Kizu family, and kept for possibly decades. When exactly was it returned, and why, is unknown.

NINJA ACTIVE DURING EDO PERIOD

After the Tokugawa clan took control of Japan in the early 1600s, many families from Iga Province (present-day Mie Prefecture), and at a later date from Kōka Province (present-day Shiga Prefecture), moved to Edo (present day Tokyo) where they used their skills in ninjutsu for various types of work under the employment of the Tokugawa Shogunate. At the time, which is known as Edo period, the country was strictly run by the new Shogunate, and everyone had to abide to the rules. Different from during the warring periods beforehand, where those ninjutsu experts could sell their abilities to serve one of the many warlords vying for power, ninja during the Edo period took advantage of their unique position to directly serve the Tokugawa Shogunate for rank, merits, and means of work. Kizu Inosuke was most likely in the same position, where he may have had to seek employment under an elite individual who held an important position in the Tokugawa Shogunate.

Times have changed, and modern Japan is very different from the past, as the country is no longer a military-centric state. Much of the skills that the ninja took pride in using are deemed illegal today. Also, such unwavering loyalty and strict dedication to the ways of the ninja through written pacts are not much in practice, for there is a great amount of information regarding ninjutsu (from their ancient documentations, tools, and strategies) made public as a means to study and appreciate a past history. Ninja of old (in reference to those families who were actively using ninjutsu for the sake of work several centuries ago) treated their craft as something of great secrecy, thus the need for such agreements and rules. Nowadays, such things are no longer in use.

UNDERSTANDING THE NINJUTSU KISHŌMON

The follow is a translation done by myself of the 6 rules & concluding pledge found in the Ninjutsu Kishōmon. Note that everything in the picture below is read from right to left, with the text lined up from top to bottom.

__________

How the original Ninjutsu Kishōmon looks. Image from “Iga Portal

1) On this occasion, I receive the teachings of ninjutsu. I will not show or disclose the contents of the ninjutsu and ninki (tools of the ninja) I inherit from you to those who bear a relationship to me, such as my parents and siblings. I will act like I have no knowledge on such information. I will also not allow another person to copy the contents.

2) From the Mansenshūkai, the sections on the Preface, Seishin (Correct Heart), and Ninpō (Treasures of the ninja) will be made viewable, unquestionably, to our lord and his personal administrators, such as his chief retainer, if they desire. I ask for your pardon, for when called upon to do so, I will not refuse.

3) Outside of the ninki, the kaki (tools for fire and explosives), and those from the Mansenshūkai, I will inform you of new & unique ninki and kaki that I am able to devise.

4) If, as a young master, I have strayed from the ways of justice, I will return the documents that I have copied from your possession, and will leave no trace of ever possessing those documents.

5) I will not allow the secret techniques of the Mansenshūkai to be written in another document.

6) I will not use ninjutsu and ninki I am inheriting for the acts of mere thievery. However, anything will be done for my lord’s sake no matter what.

PLEDGE: It is forbidden to oppose the rules written on the right, even by just a little. May the great and minor deities within over 60 provinces of Japan, especially the gods of my home town, extract their punishment upon my own children and future generations wholeheartedly, if my incompetent self, ever so young acts like a betrayer even by just a little.

__________

ANALYZING THE CONTENTS

We’ve just finished a brief overview of the document’s writer of the Ninjutsu Kishōmon, ninja during the Edo period, and the rules in this document. Here is an analytical review based on some informative (as well as contradictory) points regarding this document, and why certain practices were done based on the time period it is from.

  • From the Edo period onward, those from Iga Province were hired to work for the Tokugawa Shogunate, whom many are said to have specialized in ninjutsu.
  • Kizu Inosuke is said to be from Iga Province. However, it is not certain if Nagai Matabei was also from Iga Province.
  • For rule #1, Inosuke swears not to let his family know he studied ninjutsu. Yet, apparently this agreement was given back to his family sometime after his death. This document was give to his teacher, so it is strange that it made it back to Inosuke’s descendants.
  • While Inosuke promises not to show anything related to ninjutsu to his family, he wouldn’t hesitate to show some chapters of the Mansenshūkai, a very important text on ninjutsu, to the Shogun and his high-ranking officials. Why is this? For starters, if Inosuke were to gain employment serving the Tokugawa shogunate like many others who came from Iga Province, then he would be obligated to share some information of his knowledge of ninjutsu. For example, the 3 aforementioned sections of the Mansenshūkai give an overview of ninja and their art, such as the mindset & spirit they were to develop. Since these didn’t include their techniques, tools, or strategies, then it was no real risk of losing their secret trade. Disclosing some info as such was possibly necessary, especially to the high-ranking officials, for they probably hired ninja and needed to understand who was working for them.
  • Speaking of which, the Mansenshūkai was offered as an official documentation to the Shogunate on 1789 by several individuals from Kōka Province. Before this, it existed much earlier in secret as a collection of ninja tools, strategies, and philosophy all contributed by many different ninja families. Inosuke received a copy before or around the time he wrote his agreement in 1716. There are supposedly 2-3 variations of the Mansenshūkai, but it is reported that, other than 1-2 sections missing from one that has yet to be shared with the public, these all share more or less the same contents.
  • In relations to rule #3, it is possible that Inosuke’s personally devised ninja tools (that is, if he was successful in doing so) were added to the Masenshūkai by him or his teacher. There is no way to confirm this, but if this is the case, then these same tools may very well have made it into the the public version of the Masenshūkai.
  • For rule #4, for Inosuke to return all his possessions on ninjutsu was a grave and serious matter. It meant that if he is judged as failing in his duties, or committed a crime and is caught as doing so, he would have to forfeit being a ninja. In some ways, this rule is more as a promise to be a “good & righteous” person or else. Such promises were common not just for those who study ninjutsu, but for many other occupations throughout Japan.
  • For rule #5, letting the contents of the Mansenshūkai be copied into another documentation was obviously frowned upon. Other than the lost of secrets that gave ninja of that time an edge, if the version of the Mansenshūkai was unique to Inosuke, and the same exact version was found elsewhere, his teacher would immediately know from whom it came from. This could get Inosuke in big trouble.
  • Rule #6 is one to take note on. For starters, it has been examined that many of the techniques found in ninjutsu are similar to those used by thieves. What sets ninja apart are the morality they possess, and that they only use their abilities for the greater good. Now, there is an exception to this. If their employer, or better yet, an order from the shogunate, required them to use their techniques for acts that were on the level of thievery or worst, a ninja was required to adhere…for this was also part of the “greater good”. This is what the 2nd part of rule #6 hints at.
  • To cement his promise to uphold the 6 rules, Inosuke pledges to accept “heaven’s wrath” upon his family line. This is a bold statement, but nothing unusual. Due to the influence of religions such as Shinto and Buddhism, along with the belief in the power of gods, it was natural to put such a superstitious seal in an important document such as this. It’s no different from other promises made, even for those made in other countries in the past.
  • Written agreements of this nature were not only done by those who study ninjutsu. It has been found that those who belong to military families, as well as many who studied martial arts, also signed similar agreements which express calamity on themselves and their family line if they do not uphold to specific rules. For example, the Mōri family (毛利氏), who once specialized in naval warfare as pioneers, have several documents of written vows done by Mōri Hidenari (毛利秀就). There is also one for those who where accepted as students for a martial system called Asayama Ichiden ryū Bujutsu (浅山一伝流武術).

ENDING

This here concludes the discussion on the Ninjutsu Kishōmon. A document of antiquity, it serves to help researchers understand more of ninjutsu when it was actively used in the past. On an additional note, this document was originally a planned translation project. Because of this, there is an accompanying page under the “Translations” section, which features the same translation, along with other info not found in this post. You can access the “Translations” tab at the top of the page, or click here.


1) Note that this is a shorter label for the document. The full title is actually “Keihaku Tenbatsu Reisha Kishōmon Maegaki” (敬白天罰霊社起請文前書), which stands for “Pre-written Vows of Declaration of Divine Punishment from the Sacred Shrines”.

Phases of Martial Structuring: Bugei Yonmon

Continuing with the articles on Japan’s martial structuring process, we turn our attention to the one called “Bugei Yonmon” (武芸四門). Unlike the previous ones covered, this focuses on a specific number of skills vital for all warriors to cover. For this discussion, we’ll look into the history behind Bugei Yonmon, its significance in literature, and comparison to other similar listings. Sources used in writing this include (but not limited to) the following:

  • Zusetsu – Kobudoshi (図説・古武道)
  • Zukai Sengoku Gassen ga yoku wakaru Hon (図解戦国合戦がよくわかる本)

UNDERSTANDING THE BUGEI YONMON

Bugei Yonmon translates as “Four Specialties of Martial Arts”. As the name implies, there are four areas that are believed to be essential for any warrior to perform his duties. Realistically, there were more than just four areas of specialties that warriors learned, as well as was adept to. One could view this list as just pointing out the most important of those that truly displayed the strength, and measured the worth, of a warrior in order to step onto the battlefield.

The label Bugei Yonmon is said to have been 1st seen in the 23-volume war documentation of Kai Province (present-day Yamanashi Prefecture) called “Kōyō Gunkan” (甲陽軍鑑). In this, Bugei Yonmon refers to four specific skills¹, which are the following:

  • 馬 (uma) = Horse riding
  • 兵法 (hyōhō²) = military tactics & affairs
  • 弓 (yumi) = archery
  • 鉄砲 (Teppō) = gunnery
Pic of a section from Heihō Yukan, with “Yonkaku no Uchinarashi” highlighted

Kōyō Gunkan is a product of the military-centric activities that took place within the warlord Takeda Shingen’s territory during the later part of Sengoku period. Thus, this version of Bugei Yonmon reflects this. Another war documentation called “Kiyomasaki³” (清正記), which talks about a famous war commander by the name of Katō Kiyomasa, has a similar listing.

Is the idea of 4 specialties significant, and one that was a universal idea throughout Japan? It’s possible, but not much evidence revolving around the concept of four skills. The roots of this are also unknown. It is possible that there were other labels used to signify the same “four skills” idea, but that requires additional research to confirm. For example, from the document Heihō Yukan, there is the label “Yonkaku no Uchinarashi” (四格ノ内習), which means “4 Procedures of Preparations”. This document is also from the house of Takeda Shingen, just like the Kōyō Gunkan. Could it be that Yonkaku no Uchinarashi has the same meaning as Bugei Yonmon?

MORE THAN A NUMBER

Looking at the components of Bugei Yonmon, one can’t help but to think that it’s rather small. Truth is, there are sub categories to help flesh out the required skills. In the book “Zukai Sengoku Gassen ga yoku wakaru Hon”, a chart is provided that shows additional categories, which is provided below.

20200128_2336115924587974680936844.jpg
A chart of Bugei Yonmon derived from Kōyō Gunkan, consisting of the following: ① uma, ② hyōhō with katana and yari, ③ teppō, ④ yumi.

Under Hyōhō (#2 in the picture above) within the circle are 2 important components considered critical for conducting warfare during the late Sengoku period, which are the yari and the ken (written as katana in the pic)⁴:

  • YARI (槍, Spear): Considered the most dominating weapon on the battlefield due to its superior range, and impactful performance in group tactics
  • KEN (剣, Sword): Consisting of daisho (one long sword and short sword combinations, such as ōdachi and kodachi), yoroi dōshi, and other blades, swords were most effective close range for melee

There is another category in the picture to the far left that is occasionally associated to hyōhō , which is yawara, or labeled as jūjutsu (柔術) in the pic above.

  • Yawara (柔, Grappling): Despite considered a minor, was necessary for engaging with an opponent during yoroi kumiuchi (grappling while wearing armor).

There are several koryū bujutsu schools in Japan that express the use of yoroi kumiuchi, such as Kitō ryū (起倒流) and Takenouchi ryū (竹内流).

If the Bugei Yonmon is used as a basis while reviewing other military documentations, scrolls, and artworks that cover the activities during Sengoku period, one can see some connections to how it represents the military approach in Japan at that time. There are recorded tales and accounts (some more exaggerated than others) of individuals who demonstrated great use of each of these skills, like the yari by famous individuals such as Honda Tadakatsu and Hattori Hanzō, or the ken (aka swords) on the battlefield by war-harden survivors such as Ittō Ittōsai, Tsukahara Bokuden, and Yagyū Muneyoshi. Yumi and uma have always had a place in Japan’s history as they were utilized together a great deal, so there are no shortage of tales about exemplary works with these. Despite its use late during the warring times of Japan, teppō made a lasting impression, as it represents continuing modernization of warfare in Japan as demonstrated by the likes of Oda Nobunaga and his teppotai (鉄砲隊). Lastly, strategic approaches in conducting war by famous historical figures have always filled the pages of numerous literature, thus hyōhō has been a skill respected by many to the point that a good number of military manuals on strategies of war were compiled throughout the generations.

BASED ON THE TIMES

A section on Bugei Yonmon from “Zusetsu – Kobudōshi”

The idea of four specialty skills for warriors may not be as old as expected. There are different listings based on the era in question, but making these lists did come about after Sengoku period, and as early as Edo period.

One example of this is a version of Bugei Yonmon based off of the primary skills dotted on during 1100s, which was deciphered from entries in the war story called “Heike Monogatari” (平家物語). In “Zusetsu – Kobudōshi”, it is described as the following⁵:

  • Uma nori (馬乗り) = horseback riding
  • Kisha (騎射) = cavalry w/bow & arrow
  • Haya ashi (早足) = running
  • Chikara mochi (力持ち) = sumō

Another is early Sengoku period, once the Ashikaga shogunate was established and a more military-focused rule was set in motion to recruit more soldiers for armies around the late 1300s to early 1400s. This version of Bugei Yonmon slightly varies:

  • UMA (馬, horse) = Horseback riding was still prided on, and was utilized for flanking & disrupting groups, thus uma (horses) was a necessity. Along with this, new tactics such as wielding a yari while on horseback, was growing in popularity.
  • YUMI (弓, bow & arrow) = Although older methods of archery were losing value, newer methods were being implements, thus the long-range capabilities of the yumi was kept relevant⁶.
  • YARI (槍, spear) = As group tactics and mass number of soldiers became the focus of utilizing an army, the yari showed appealing results when used under such conditions, making this a weapon warlords dotted on.
  • KEN (剣, ken) = Ken was also important not only to assist spear bearers, but for skirmishes once enemies got past the long lengths of yari and visa versa.

There were also subcategories in relation to this period, which are the following:

  • Yawara (柔) = Grappling with an opponent. A necessary component when upclose upon the enemy, allowing a warrior to perform kumiuchi
  • Hō (砲) = Artillery, such as guns (i.e. pistols and rifles) and cannons fall under this label. Artillery was still in its infancy and its usage on the battlefield can be viewed as trial & error. Still, potential was seen in these, especially once the technology improved.
  • Hyōhō (兵法) = Military strategy also developed as the means of conducting war, as well as the weapons & equipment for war, changed and/or improved.

Although considered minor, if these three were placed in the same importance as the aforementioned four skills, then the required skills for warriors during the early Sengoku period would be seven, and can be rightfully called “Nana Gei” (七芸, Seven Skills).

CONCLUSION

Bugei Yonmon works as a list that highlights skills a Japanese warrior must learn. While it appears short and concise, this is to point out the most important of skills needed during the later part of Sengoku period. This concludes this discussion on how Bugei Yonmon shapes Japan’s military combat at one time. Stay tune for the next discussion on this series, which will be out soon.


1) The line in Kōyō Gunkan that states this said to be the following:

「武芸四門とは弓鉄砲兵法馬是れ四なり」とある。」

2) Can also be pronounced heihō as well

3) Title can also be read as “Seishōki”

4) Some analysis on this version of Bugei Yonmon view yari and ken as one respected category of their own, with yawara (jūjutsu) also treated as a valid category as well. In this case, this falls into a new list called “Roku Gei” (六芸, Six Skills).  This can also be pronounced as “Riku Gei” if based off of the original concept of 6 skills found in Chinese literature.

5) In Zusetsu – Kobudōshi, it is stated as the following:

「馬に乗り、はせ引き(ー馳せ弾き。騎射)、早足(ーランニング)、力持(ーすもう)など、ひとえに武芸をぞ稽古せられける」

Translated, it reads as follow:

“Martial skills that should be trained in extensively are horseback riding, equestrian archery, running, (sumō) wrestling, and the like.”

Note that while four areas of skills are mentioned, this statement hints that there are others that are worth mentioning as well.

6) The changes in Japanese archery was discussed in a previous 2-part post regarding Kyūsen no Michi here and here