Japanese Text & Documents

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The Parallel use of Kōhaku (紅白)

In the Japanese language, there is a word called “kōhaku” (紅白)¹, which stands for the colors red and white. Historically², these two colors play a unique role. They can be used in pairs, or at opposite extremes in distinguishing groups. For example, the colors on Japan’s flag are represented by the colors red and white. Other familiar items include “kōhaku maku” (紅白幕, red & white curtain), kōhaku chōchin (紅白提灯, red & white paper lanterns), and other types of decorations used for celebrations. The two colors are also used for food and treats, such as “kōhaku mochi” (紅白餅, red & white rice cakes) and “kōhaku manjū” (紅白まんじゅう, red & white steamed buns with various filings), which are commonly used for ritualistic occasions. In activities and sports, two teams are created for the sake of competition; one team is called “akagumi” (紅組, red team) and the other “shirogumi” (白組), and each may carry a corresponding flag or handkerchief as to indicate which side each member is one.

Examples of how red & white are used in the following: Japanese flag (top-left), kōhaku manjū (top-right), kōhaku chōchin (bottom-left), kōhaku maku (bottom right)

Recently, I came across two words in an old Japanese document I am translating, each based on one of the two colors mentioned above. The document in question is related to warfare and swordsmanship in the past, and features a section that deals with what a warrior can do even when no weapon is in hand. Although used separately, in the context the two words appear in really signifies the parallel existence that kōhaku represents.

Two words of interest highlighted in red, from the Tsuki no Sho (月の抄).

The first word is “sekishu” (赤手)³. Literal translation would be “red hand”, which is actually correct if we are talking about the color of someone’s hands. However, depending on the subject matter, the use of the color red has a different meaning. Here’s the dictionary definition from one of the resources I use for translations called “Kotobank“:

せき‐しゅ【赤手】

〘名〙 (「赤」はむき出しの意) 手に何も持たないこと。なんの武器もないこと。素手(すで)。空手(からて)。徒手(としゅ)。

The above definition expresses that the manner in which red is used in this word is to mean “exposed” or “naked”. Together, sekishu stands for “bare hands”, or having no weapons in hand. It has the same meaning as other words of similar use, such as “sude” (素手), “karate” (空手), and “toshu” (徒手).

On a separate note, the word “hakushu” (white hand) doesn’t exist historically. Actually, there is the word “shirode” (白手) . It has no reference to fighting, but instead refers to a type of glaze used on porcelain.

Examples of fighting empty handed.

The 2nd word from the document is “hakusen” (白戦). If translated literally it reads “white battle”, but this is not the correct meaning. Taking a look at the definition once more found on Kotobank:

はく‐せん【白戦】

 
〘名〙 手に何も持たないで戦うこと。

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Hakusen means “unarmed battle”, where no weapons are used to fight. The use of “haku” (white) is to express a plain, natural form, without the addition of anything else (in the form of weapons, those will add another flavor, or “color” so to speak). A similar word to this is “hakuheisen” (白兵戦), which also can refer to hand-to-hand combat⁴. As for an equivalent “akasen” or “sekisen” using the color red, none exists as far as I can tell from my research.

In conclusion, kōhaku has a strong cultural influence on words, actions, and events. Based on the context mentioned above, we see how red and white are used to mean literally the same thing through the two words sekishu and hakusen. These are great examples of the parallel use of the two colors that represent the word kōhaku. To this day, these colors are popularly used in special occasions in Japan year round, which can be experienced visually even in public events and festivals.

1) There are several ways of writing the word red. For kōhaku, the character “紅” is used. However, one of the more common ways of writing the word red is with the character “赤”. On top of this, there are different pronunciations for both red & white. Here’s what’s used in the article:

Red = aka, seki, ko

White = shiro, haku

2) There are several theories behind the origin of the word kōhaku. One theory is that the colors red and white were used to distinguish the warring armies as early as during the Genpei Gassen (源平合戦, 1180 – 1185). Another is that the word has even older roots, where the colors represent life (red, such as a new born baby) and death (white, such as the white garments worn by those who have passed away).

3) Can also be pronounced as “akade”

4) Actually, this is partially correct. The full meaning of “hakuheisen” is close-quarter combat, which primarily refers to the distance where warriors were close enough to use their pikes, swords, knives, and (if nothing else was available) fists or grappling techniques during Japan’s warring period in the mid century. The root of this is in the word “hakuhei” (白兵), which is a special terminology that refers to “unsheathed, bladed weapons” used for fighting, which became especially prevalent during 1500s. From Edo period onward, due to less dependency on large battlefield weapons and more development in martial techniques in civilian clothing, the use of hakuheisen adapted according to how fights were later conducted. Especially in the later years, hakuheisen was used to refer to numerous methods for close-range fighting, from bayonets to even CQC.

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Phases of Martial Structuring: Kyūsen no Michi ~ Part 1

The next martial system that influenced how the bushi fought is called “Kyūsen no Michi” (弓箭の道), which translates as “the path of the bow & arrow”. An older term that comes from China, there is very little differences, if any, from Kyūba no Michi (弓馬の道). Much of the practice of archery as a system for military purposes has been covered in a previous post part of this series. Due to the role the bow & arrow played in Japanese history, the topic of Kyūsen no Michi will be divided into 2 parts. For the first part, to avoid restating similar info from before, I will go over the existence of the term in various documents, as well as a brief summary of the use of archery in Japan during warring times based on certain criteria.

DOCUMENTATION

The word kyūsen, which can also be pronounced as “kyūshi” or “yumiya¹”, is but one of the preceding labels that identify the use of the bow and arrows for war purposes. The term may have been 1st adopted sometime after the 9th century, with one of the influences possibly being a song found in “Heishakō²”, which is a collection of war-related songs composed by a renown Tang Dynasty poet named To Ho³. Although short, the stanza goes as the following:

“行人弓箭各在腰”

This line translates as the following below:

“The warrior departing for war carries a bow and arrows at his side”

Artwork called “Ujigawa” (宇治川), which depicts two warriors riding into the Uji River with bow in hand, rushing towards an ongoing battle. Artist is Haishi Kōji. From the book “Jōyō Kokugo Benran” (常用国語便覧).

As much of the culture from China was being brought over to Japan, many aristocrats would share contents such as Chinese poetry and literature, and adopt what was written into their lifestyles. The warrior class would do the same, as they adopted many things related to the bow, from methods on how to make a bow from specific materials, to adding ceremonial customs that would treat archery almost like a religious practice.

The word “kyūsen” would appear later in Japanese works, such as Heiji Monogatari (平治物語), Heike Monogatari (平家物語), Taiheiki (太平記), and Azuma Kagami (吾妻鏡). In the way it’s used, kyūsen depicts someone who’s a warrior, or those who were disciplined for military activities. It is expressed that for one to be accepted as a bushi (武士, warrior) or trained in bugei (武芸, martial skills), learning how to use the bow & arrow was an important part of it.

EARLY HISTORY

We learn that the bow & arrow was placed in the center of the warrior culture from written accounts of warfare from the 12th century onward. With bows in hand while on horseback, warriors were ready to let their arrows fly as depicted in events such as the attacks in Kyōto during Heiji no Ran (1159-1160), disputes between the Taira and Minamoto clans during the Genpei Gassen (1180-1185), and the continual unrest due to the establishment of militaristic governance throughout the Kamakura period (1185-1333).

Pic of part a of picture scroll where warriors using bow & arrow are attacking residence of the burning Sanjō Palace. From “Heiji Monogatari Emaki” (平治物語絵巻).

For combat, common tactics with the bow & arrow included ya-awase (矢合わせ, raining arrows) at the commencing of a battle, and kibamusha (騎馬武者, mounted warriors) using the bow while closing the distance. Despite acting as an army, infantry and elite soldiers engaged with the enemy in 1-on-1 skirmishes predominantly. Outside of combat, warriors spent their time using the bow & arrow in pasttime activities known as “Kisha Mitsumono” (騎射三物). This included equestrian recreations where one displays their skills in shooting. Hunting was also an activity warriors spent their time doing, usually in groups.

Since the Japanese spent centuries battling one another due to internal strife and a struggle for power, their tactics were, for the most part, universal amongst the many warrior families and armies commanded by feudal lords. This would change, however, once their country was in danger to an outside threat.

MONGOL INVASION

In the 13th century, Kublai Khan declared himself not only emperor of Mongolia, but acquired sovereign power in China and made Korea submit as a vassal state. In the mid 1200s, he would then turn his sights on Japan and threatened them to submit under his control and order several times. Despite advise from the Imperial court, the current shogunate at that time (primarily controlled by the Hojo clan) refused. After making preparations, Kublai would set out troops from both Mongolia, China, and Korea, and put forth the 1st Mongol Invasion on Japan in 1274⁴. As the first real foreign threat, almost all feudal lords and warrior families combined their efforts to fight for their country instead of for personal gain against one another. They did their best to prepare their forces and head to the northern border of Kyūshū, which is where the Mongolian forces used to embark on Japan.

The immediate warriors gathered at the northern border of Kyūshū, and prepared to deal with the invaders with no mercy. They implemented ambush tactics, barricades and the like. As the Mongol force landed, they put up a valiant fight, but most in the end were decimated by the sheer number of the invaders. Records of this event describe some of the unpredictable tactics from the invaders as they made their way down towards central Japan, which included advancing and retreating tactics by archers, and multiple attackers against single opponents. The Mongol force also utilized weaponry far advanced, such as smaller bows that had a heavier draw, poisoned and fire-rocket arrows, explosives, and swords with more curvature. The leather armor that the Mongol invaders wore also gave them favorable defense against the Japanese weapons such as the tachi; although long, the blade of the tachi was thin, with accounts stating that they broke after becoming snagged in the leather armor. As for the bow & arrow hailed favorably by the Japanese warriors, it did not fair so well either; its initial purpose of shooting down single opponents proved difficult against enemies who would retreat out of its effective range, or close the gap in groups. Such unforeseeable tactics brought much fatalities within the Japanese warriors’ ranks, especially in the earlier battles.

Section of the artwork depicting invaders from the Mongol army fighting against Japanese warriors. Here, a kibamusha (cavalry warrior) is slain. From “Mōko Shūrai Gassen Emaki” (蒙古襲来合戦絵巻)

In the end, the Japanese warriors were able to win through certain factors, such as disorganization amongst the Mongol army, keen understanding of the geography, the fortunate natural occurrence of high winds that sank many of the invaders ships at night, alongside with night raids on any surviving ships. Defeated, Kublai Khan would wait several years before attempting another invasion in 1281, only to face similar results due to ill-prepared sea vessels against turbulent winds on the sea. Despite their overall victory, the Japanese discovered that there were flaws in their current arms & tactics, especially those that heavily depended on fighting on horseback and using the bow & arrow. In order to compete with the outside world, they had to adopt new weaponry, and improve on their tactics.

NEW TACTICS

Although starting after the 1st phase of the Mongol Invasion, military groups and specialists put great effort in redefining their approach to warfare once the threat of Kublai Khan was over, especially during the later years of the Kamakura period. For starters, greater emphasis was placed on larger numbers of troops. In order to utilize troops better, battle formations were also incorporated, which divided them into groups and serving specific purposes. With a larger army, swarming & rushing upon the enemy became the prime objective, which had troops focus more on using close-range weapons, such as the uchigatana, nagamaki, and the yari.

While the skill level and etiquette associated with the bow & arrow were retained for high-class warriors, it saw less use than normal as they did not fit in well with the new tactics for battle. On top of this, armor was modestly improved with added defense against arrows. Instead, the yari was given precedence in overall use and versatility⁵, as seen in the increase of group tactics of spearsmen. The yari was also used by cavalry, which was specialized on and made popular by certain feudal lords such as Takeda Shingen in the mid 1500s. While raining arrows was still a valuable strategy, archers would stay back, hidden behind cover or surrounded by fences.

Woodblock painting called “Samurai Archer”. Dated 1899. Artist is Mizuno Toshikata (水野年方). From ukiyo-e.org.

At certain points did the bow & arrow see improvements. For example, in the late 15th century, new tactics incorporating groups of archers shooting while walking was being incorporated into the battlefield. Credited to Heki Danjō Masatsugu⁶, this allowed specially trained archers to advance and give addition cover to fellow troops, as well as to better assist with retreating tactics. In the mid 16th century, some armies would have archers work side by side with gunners, and incorporate long range tactics to both deal damage while dealing with flankers. On top of this, the use of fire arrows by archers, which was learnt from the tactics by the Mongol and Korean soldiers during the aforementioned Mongol Invasion, became commonplace, especially by those who commanded navy fleets such as the Murakami clan.

All in all, use of the bow & arrow would continue throughout the Sengoku period (1467-1600) until the end of civil battles due to the Tokugawa shogunate from Edo period onward. In its demise, the dependency on firearms in battle would grow immensely due to factors such as the influences from Western countries, improvements in the overall technology, potential damage they deliver, and the less demand of skills to use them. Despite the shift in focus, some warrior groups who still saw value in the bow & arrow kept the skills and tradition alive, where it is still practiced even today.

ENDING

We’ve come to the end of this brief overview of what Kyūsen no Michi is and how it depicts the importance of the bow & arrow throughout the history in Japan. In part 2, the discuss will focus on specific groups that represented excellence in the use of bow & arrow, as well as few individuals who are considered pioneers in Kyūsen no Michi.

1) When referring to the kanji “弓箭”, both pronunciations “kyūsen” and “yumiya” share this. “Kyūsen” is a more “foregin” way of stating bow & arrow, whereas “yumiya” is more native dialect. Later, yumiya would use the kanji “弓矢”, possibly to make the term more Japanese-like.

2) 兵車行. Pronounced as “Bīng Chē Xíng” in Chinese. This roughly translates to “Songs of the War Chariot”.

3) 杜甫. Pronounced “Dù Fǔ” in Chinese.

4) This particular matter concerning Kublai Khan is generally known as “Genkō” (元寇). This term was 1st used during the Edo period by the Tokugawa shogunate to refer to this event. Before that, another name was used, which was “Mōko Shūrai” (蒙古襲来). Both literally mean “Mongol Invasion”. Within this event, there was 2 invasion attempts, with the 1st one called “Bunei no eki” (文永の役, Campaign of Bunei period), and the 2nd one called “Kōan no eki” (弘安の役, campaign of Kōan period).

5) Before the Kamakura period, Japanese warriors used another type of polearm called the hoko (鉾), which was a shorter, single or double-edged bladed weapon. Derived from a Chinese variant, it was primarily a stabbing implement. The yari, on the other hand, was a much larger polearm with a longer blade that, depending on design, was versatile for not only thrusting, but for cutting and striking.

6) 日置弾正正次

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Tales of Bravery: Nasu no Yoichi

In my previous post I spoke about Kyūba no Michi as a systematized martial system used during the Heian period to Kamakura period. There are many stories and tales of warriors who represent this, some displaying remarkable skills against unfavorable odds, or impeccable judgment during critical moments to change the tide in their favor.

An example of this is “Heike Monogatari¹”, which is a written account of the conflicts between the Taira clan and Minamoto clan as they struggled for power to rule over Japan. In it is the heroic tale of a young warrior named Nasu no Yoichi² and his display of archery prowess. The setting takes place at the end of a battle at Yashima³ in 1185, where the Taira had moved out into the sea, and hid then 8-year old emperor Antoku on board of one of 8 boats attached together. These boats were positioned a good distance in the sea away from the shore, where the army of the Minamoto stood out of reach. As a form of a taunt, a crimson red fan with a circle drawn in the center was placed on a pole of a boat many yards away from the shore where the Minamoto army watched from, daring them to shoot it down.

Nasu no Yoichi, an individual known to possess exceptional archery skills within the ranks of the Minamoto army, was chosen among his peers to shoot the fan down. Riding his horse out into the turbulent sea, Yoichi’s fate, along with the pride of the Minamoto army, will be determined by a single arrow.

23ed28de-da39-4eab-bce4-7ec50b017567

Drawing of Nasu no Yoichi on a kakejiku (hanging scroll). Yoichi is shown drawing his bow, in preparation to take a shot at a fan.

In the original source, this tale is told entirely in 2 chapters, which are “Ōgi no Mato⁴”, and the other called “Yuminagashi⁵”. Here is the original Japanese text, along with an English translation done by myself, of this critical moment.

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矢の射度距離には少し遠かったので、海へ一段（約十一メートル）ほど（馬を）乗り入れたけれども、さらに扇との間は、七段ほどはあろうかと見えた。

時筋は二月十八日の午後六時頃のことであったが、ちょうどその時、北風が激しくて、磯を打つ波も高かった。船は揺れ下がり、揺れ下がり漂うので、扇も竿先で不安定にひらめいていた。沖には平家が船を一面に並べて見物する。陸では源氏が（馬の）轡を並べてこれを見る。どちらも、どちらも、晴れれがましくないということはない。

Yoichi rode his horse into the sea around 21 meters, as the shooting distance was too far from the shore. Even then, the distance of the fan appeared to be at a distance around 147 meters.

The time was around 6 pm, evening, of the 28th day of the 2nd month. Yet, at the time the wind from the north was blowing strongly, and the waves that crashed upon the shore were tall. As the boat bobs up and down, the fan also waves around on the pole troublesomely. Out in the sea, members of the Taira gather to one side of their boat as they look on. At the shore, Yoshitsune looks on while straightening the bit of his horse. There is no one, absolutely no one, who would not say this moment is grand.

与一は、目を塞いで、

「南無八幡大菩薩、我が下野国の神、日光権現、宇都宮、那須の湯泉大明神、どうかあの扇の真ん中を射させてくださいませ。これを射損じるものならば、弓を切り折り、自害して、人に再び顔を向けないつもりです。もう一度、本国へ向かわせようとお思いならば、この矢を外させなさるな」

と心の中で祈念して、目を開いたところ、風も少し吹き方が弱まり、扇も射やすそうになってきた。

As Yoichi closed his eyes, he prays in his heart, “Praise to bodhisattva Hachiman, god of Shimotsuke Province’s Nikko Gongen⁶ in Utsunomiya. Oh, great god of the Nasu family’s Yuizumi shrine, please allow me to shoot straight into the center of the fan. If I am disgraced by my shooting, I will not face my people again, as I will split my bow, and kill myself. Please, let this arrow not miss its mark, as I want to be able to return to my home country.”

Opening his eyes, he notices the wind blowing in his direction started to die down, while the fan appeared easier to aim at.

sub014-那須与一-平家の舟の扇の的-透かし

Ehagaki (postcard) showing a depiction of Nasu no Yoichi shooting the fan off of the pole on one of the Taira’s boats.

与一は、鏑矢を取って、（弓に）つがえ、引きしぼって、びゅんと放つ。小兵とはいうものの、十二束三伏の（長さの矢を射る）弓は強い。浦に響くほど長く鳴って、狙いを外さず扇の要の端から一寸ほどをおいて、ひゅんと射切った。鏑矢は海へ入ったところ、扇空へ上がった。しばらく虚空にひらめいたが、春風に一もみニもみもまれて、海へさっと散ってしまった。

Taking his whistling arrow and nocking it on his bow, Yoichi draws the string back, and lets the arrow fly. While appearing small in frame, he is a very strong archer who can group 12 arrows while pulling a long bow. The screech from the whistling went on for a long time, as it echos off the waves. The arrow did not miss its mark, as it propels straight through the center of the circle just a bit away from the outer edge. As the whistling arrow sailed into the sea, the fan rose skyward. It flutters around in the air for a bit, then is tossed around once, then twice by a spring breeze. Finally, the fan crumbles into the sea.

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Yoichi’s miraculous deed is an example of Kyūba no Michi, and how the importance placed upon the bow could near decide victory or defeat. Look out for more tales as such, as I will be adding those that correspond with the different phases of Japan’s martial systems.

1) 平家物語

2) 那須与一. In some sources, such as “Nasu no Yoichi no Katari” (那須与市語), the name is also written as “那須与市”.

3) Known as “Yashima no Tatakai” (屋島の戦い) in Japanese.

4) 扇的

5) 弓流

6) This is a shrine, presently known as Nikkō Futaarasan Jinja (日光二荒山神社) , located in Nikkō City, Tochigi Prefecture.

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Extra Details about Chiba Sana

*2/8/2021 – A few updates to specific information. Big thanks to Kazuyo Matsuda of “Fine Ladies Kendo Worldwide”.

Here’s the continuation of my previous post on Chiba Sana. This time around, some extra tidbits regarding Sana and her family that are not usually mentioned, or not even known in English, will be covered here.

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HOW TO WRITE SANA’S NAME

There are 2 ways to write the name Sana. In a Hokushin Ittō ryū mokuroku (list of technique names) given to Sakamoto Ryōma, it is written in kanji as 佐那. Honorary monuments and signs use this one today as well. However, in a mortuary tablet it is written as 佐奈. The difference in writing the 2nd character is unknown, but it is possible that for the mortuary tablet it was not known which kanji was used. In any event, both ways of writing are used to identify Sana.

For the name Sanako, apparently this is what was written on her grave at Seiunji in Kōfu City, Yamanashi. It is written as “さな子”, with the 1st 2 characters written in hiragana.

TALENTS

From a letter that Ryōma sent to his older sister Otome in 1863, we learn about the other talents Sana was adept in. Other than martial arts and healing practices, Sana was well versed in other areas such as horseback riding, drawing pictures, and playing the koto (Japanese 13-stringed instrument). There may have been more, but this is all that has been uncovered so far.

NO PORTRAITS?

There are a few popular portraits that float around the web said to be Sana. Actually, they are not. Interestingly, there are no photos taken of her while she was alive. This is not an unusual case. Researchers have yet to come across an official photo of Sana from her family.

Below are 2 common ones that are mistaken to be her.

Satō Kichi, from Wikipedia

This is actually a picture taken of Satō Kichi, who was a top class geisha during the 1800s. She would later become a hair stylist and restaurant owner. She also bears the nickname “Tōjin Okichi” (唐人お吉). Kichi had this picture take when she was 19.

Kusumoto Takako, from Wikipedia

This pic is of a girl named Takako, who was the daughter of a Kusumoto Ine, the 1st Japanese woman to specialize in Western medicine. This was taken in 1872, when Takako was 20 years old.

While the 2 women’s bios are official in Japan, and almost all Japanese websites do not reference them to Sana anymore, it is unfortunate that some websites outside of Japan still do. I hope that this post can bring awareness about the matter, and prevent further accidental use of these 2 photos.

GEKIKEN COMPETITION AND THE MYSTERIOUS WOODBLOCK PRINT

In a document put out by the present Hokushin Ittō ryū Honbu, Sana is stated as assisting in starting the Chiba Gekikenkai. This establishment was significant, for it not only helped in bringing popularity back to gekiken, but to reinvigorate interest in martial arts. As Japan entered Meiji period (1868~1912), much changed in terms of government and direction of lifestyle of the people. As times were becoming much peaceful, people were focusing on progressive means of living, including work.

Interest in būjutsu was fading drastically, as most schools taught techniques styled for combat on the battlefield. Many people did not want to get involved in such practices anymore due to the violent events that had taken place towards the late-mid 1800s, which ushered in the new Meiji period. A great number of training halls closed their doors, family styles were being forgotten, and the warrior class was becoming obsolete. The Chiba Gekikenkai, on the other hand, gave way to a new direction for applying the martial spirit in a competitive environment.

There is a famous woodblock print of a female utilizing a naginata against a male using a shinai. This is an artistic scene of how gekiken took place at the Chiba Dōjō. For the longest this female is said to be Chiba Sana, yet has not been proven 100% yet. One of the issues is that the name next to the woman is different.

A snapshot of the newspaper article about Chiba Sana and the woodblock print. Original source is here.

On February 13th 2010, an article was published in Asahi Newspaper where researchers detailed their search into the matter of the woodblock print. The label next to the woman reads “Chiba Tei – woman” (千葉貞女), with woman as an indicator of her gender. One rumor is that this is Chiba Tei, the grandchild of Chiba Shūsaku, Sadakichi’s older brother and 1st headmaster of Genbukan Dojo. However, the article states that there are no records of any women from Shūsaku’s family line ever participating in gekiken competition. Another point mentioned is that there were only about 3 women who took part in the Chiba Gekikenkai, and Sana is believed to be one of them. Furthermore, there appears to be no records of any women bearing the name of “Chiba Tei”.

Why label Sana as “Chiba Tei”? It is possible, from my personal assumption, that the label wasn’t stating a name, but is actually a complement — most likely towards Sana if this truly is her. If you look at the Japanese characters “千葉貞女” again, and read 貞 (tei) and 女 (onna) together, they make up the word “virtuous woman”. So it is quite possible that the label is stating “the virtuous woman of the Chiba family”. Why “Sana” was omitted is a mystery to me, but there are numerous cases where individuals’ names are omitted from historical or artistic works, especially for women.

OTHER FEMALE WARRIORS OF THE CHIBA HOUSEHOLD?

In Ryōma’s Hokushin Ittō ryu mokuroku, it has the names of those members of the Chiba family who not only trained with him, but as proof of his training within this martial system. The names are the following:

千葉周作 – Chiba Shūsaku

千葉定吉 – Chiba Sadakichi

千葉重太郎 – Chiba Jūtarō

千葉佐那 – Chiba Sana

千葉里幾 – Chiba Riki

千葉幾久 – Chiba Kiku

Names as written in the mokuroku. They are indicated in the red box. It is read from right to left, from top to bottom. Note that for Sana and her sisters’ names, the character 女 (onna) is written after each one to indicate that they are females.

Along with Sana, the names of her younger sisters Riki and Kiku are written as well. This is a good indication that they too studied Hokushin Ittō ryu. On what skill level did they reach and how long they trained is not mentioned. Still, this indicates that Sana was not the only female of the Chiba family who trains. This also includes her older sister Umeo (梅尾), whom she learned naginatajutsu from.

SANA’S MARTIAL ARTS PERFORMANCE?

On the website, “Hokushin Ittõ ryū~Chibake“, it is mentioned that Sana did a form of martial arts performance that earned her much acclaim. Found in a documentation related to the Chiba family, it is stated that when she was 16, Sana displayed her martial prowess before the wife of the lord of Takamatsu Domain. There is not enough information, however, on the particulars of this.

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A snapshot of the page. The line stating Sana’s martial performance is underlined in red.

For example, there is a Takamatsu Domain located in Kagawa Prefecture in Shikoku (southern part of Japan), which is pretty far of a journey to make from Edo (present day Tokyo). While there was a villa established in Edo by the 1st Takamatsu Domain lord Matsudaira Yorishige (originally from old Hitachi Province, a section of present day Ibaragi Prefecture) for him to reside in 1664, it is not known whether later successors utilized the same villa. Also, what type of performance Sana took part in (whether demonstration of techniques or 1 vs 1 match) is not explained. This all has to be taken with a grain of salt.

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That’s all I have regarding Chiba Sana. An individual quite active up until her last days, Sana lived a life with many impactful events, which should have better documentation. Hope all find this and the previous post informative and enjoyable.

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Marishiten For All in 2019

Recently I learned that there is another important element in celebrating the new Lunar year of 2019. In accordance to how the boar is the Zodiac sign in Japan, there is another tradition seen very prominent this year, which is the revering of the deity Marishiten¹. There is a connection being applied here, and it’s primarily linked to the boar. I will touch upon that point, while also giving an overview of Marishiten as viewed in Japan.

ORIGINS

Marishiten is a deity within Buddhism that represents light and the sun, and is worshiped by many Buddhist sects. Believed to have originated from India’s Hindu beliefs, then passed on into Buddhism. Later the image and reverence of this deity spread throughout Asia alongside with Buddhism. After esoteric Buddhism was established in Japan, the worship of Marishiten continued in numerous Buddhist temples around the country.

marishiten_marici

A statue in the image of Marishiten. From Wikipedia.

IMAGE & TRAITS

There are countless depictions of Marishiten based on how she² is viewed, as well as the region where she is worshiped at. In Japan, she can be seen having multiple faces, and numerous arms where each are holding different weapons such as a bow & arrow. In some cases, the sun and the moon are also in her possession amongst the weapons. Out of these images, at times she is shown to be beautiful and elegant, while other times she appears fierce and war-like as if rushing into battle. One thing that almost all these images have in common is Marishiten is shown accompanied by boars, where she is standing (or saddling) on the back of a boar, or sitting on top of several boars. The meaning behind the boars is her ability to charge forward fearlessly and with absolute resolve into battle. Due to this image, there is an association with boars, to the point that at temples that feature a room or hall dedicated to Marishiten, there are statues of boars that are symbolic as guardians³.

Marishiten is a deva turned into a guardian deity according to Buddhist beliefs. She is often depicted as a goddess of light of the sun and moon, as her name stands for “rays of light⁴”. Believed to originally possess a form of fire, Marishiten’s traits include being a source of light, and impervious to harm. As one of light, her abilities include creating illusions, and becoming invisible by positioning herself in front of the sun. As a whole, Marishiten represents a medium for avoiding harm, illnesses, and disasters. Many believers pray for her protection by chanting specific mantras specially designated to her. It is also believed that she can cure certain illnesses, resolve disputes, and ensure safe child birth.

PROTECTION FOR WARRIORS

After the introduction of Buddhism in Japan, warriors saw value in worshiping Marishiten for her protection as early as the 12th century. This came about when many believed that she could ensure victory through granting invisibility to others. This idea of being invisible is not to be taken literally; what it meant was a warrior could avoid attacks from their enemies by not being noticed within their line of sight. This was especially desired during times of war, for warriors were known to carry an image of Marishiten on their person while stepping onto the battlefield, such as archers wearing necklaces bearing a carving in the resemblance of Marishiten. Reknown figures such as Kusunoki Masashige⁵, Shimazu Yoshihiro⁶, and Tokugawa Ieyasu⁷ are known to have been great believers in this.

During the Asuka period (538-710), Prince Shōtoku was a great supporter of Buddhism early in Japan (left picture, middle, from Wikipedia). As one who studied the Buddhist sutras, it is said he received Marishiten’s aid in expelling the rivaling Mononobe clan. In reference to this event, the document “Ninjutsu Ōgi Den” gives a brief acknowledgment (outlined in red) where Prince Shōtoku is praised as “being cultivated & true to the warrior’s way…, he possessed the secret methods (of Buddhism) through the will of Marishiten and Kongō Rikishi.” (right picture, from author’s collection)

Outside of the battlefield, for those engaged in non-combatant scenarios such as spying and stealing in, they would pray for the ability to move undetected in order to complete their tasks. Groups utilizing shinobi no jutsu (known by the modern term ninjutsu) are an example of this. During peaceful times, Marishiten was still an essential asset within some martial systems. For some, through the incorporation of esoteric Buddhism, prayers to Marishiten helped to inspired self perfection. For others, her image helped to protect the teachings of their martial system.

Until the abolishment of the warrior caste, Marishiten was one of the deities most essential to those who wished to achieve victory against their foes.

GOOD FORTUNE

From Edo period, Marishiten was made a patron of wealth and prosperity primarily to merchants and entertainers. This made her one of the “Santen⁸”, or 3 Deities, within Japan. The Santen is a label for 3 major deities specifically designated as patrons of luck and fortune for those in specific occupations. At some point, these 3 Deities were viewed as beneficial to everyone, thus the general mass began to pray to them as well.

Tokudai Temple is one of the few temples that is dedicated in the worship of Marishiten (left). The pic on the right shows that temple’s schedule for Marishiten Goenbi (I no Hi) celebration, which shows the months and each day on the schedule in chronological order. (from Tokudai Temple’s website here)

This year, people can access certain temples to pray to Marishiten. Just about a month ago, the Yakuri Temple⁹ (located in Takamatsu City, Kagawa Prefecture) made headlines across media outlets in Japan, for that temple’s Marishiten statue was unveiled to the public for the 1st time. There are also special days for prayer and worship called “Marishiten Goenbi¹⁰”, that take place at Tokudai Temple¹¹ (located in Ueno, Taitōku District of Tokyo). This is in connection to “I no Hi¹²”, or “Day of the Boar”, which is directly related to this year’s Zodiac being that of the boar (or otherwise known as the pig outside of Japan), and Marishiten’s utilization of boars in the images rectified of her.

CLOSING

As a whole, Marishiten is a guardian figure with a long history. Over the generations, many groups have found reasons to associate themselves to her for the sake of receiving different types of blessings through worship. This year is especially important due to the Lunar calendar falling on the year of the boar. If you look at it, Marishiten is for everyone when it comes down to asking for blessings, and this point is certainly being acted upon in Japan this year.

1) Original writing of the name is Marici.

2) While the prevailing image is that of a female in Japan, Marishiten is also described as being a male in other countries.

3) A guardian boar is written as “koma-inoshishi” (狛猪)

4) In Japanese the word “kagerō” (陽炎) is used to describe this.

5) 楠正成

6) 島津義弘

7) 徳川家康

8) 三天. This is made up of the following deities: Marishiten, Benzaiten, and Daikokuten.

9) 八栗寺

10) 摩利支天御縁日

11) 徳大寺

12) 亥の日

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Kuki Archives: Hidari Mitsudomoe ~ Part 2

This is the continuation of the discussion on the Hidari Mitsudomoe, one of 2 family crests of the main Kuki line. In part 1 the historical, cultural, and spiritual symbolism in relations the tomoe emblem in Japan, and Asia as a whole, was introduced. For this post, we will focus solely on the Hidari Mitsudomoe’s connection to the Kuki clan, from how it was possibly acquired to how it played a role within their own personal history.

APPEARANCES OF THE TOMOE

The Kuki clan’s main line has, for as long as it is known, been associated with this family crest. It is visibly shown in some of their works and activities. It may even appear on banners in public activities they take part in as well. While this crest is generally called “Hidari Mitsudomoe”, take note that there are actually 2 variations: one is a regular version, and another is a slimmer version called “Hosoi Hidari Mitsudomoe”. For the slimmer one, the 3 commas are much thinner, but still round out to make a proper circle. Is there any significant differences between the two? Other than appearances, possibly not.

These photos show the book “Kukishinden Zensho: Nakatomi Shintō, Kumano Shugendō”. 1st pic features the cover of both the book and its box dust cover. 2nd pic is of the back of both items. Note that on the back is the Hidari Mitsudomoe, which overlaps another emblem called “Jurokuyae Omotegiku”.

ACQUISITION OF THE TOMOE EMBLEM

While mentioned to be a family crest even within their own works, The Kuki clan have not put out much info regarding the source from where they acquired the Hidari Mitsudomoe. Actually they are not entitled to, especially since in today’s generation the use of family emblems do not possess the same weight as in the past. Piecing together possible sources of information on the topic takes a bit of work, primarily with historical documents that deal with cultural practices.

Fortunately, there are valuable sources that keep records on the numerous family crests used through Japan’s history, which explain detailed information from the meaning behind each one, to the families that are linked to them. Looking back at the roots of the Kuki family has given me an idea of the possible source of the family emblem in question.

The general consensus from sources regarding kamon history state that the Kuki clan are indeed hereditarily associated with the Hidari Mitsudomoe. One theory on this is based on the original roots of the Kuki clan. The founder of the Kuki clan, Kuki Ryūshin, originally bore the family name “Fujiwara”. The Fujiwara clan was a noble family of the imperial court. There are several Fujiwara lines to be exact, so to be more specific, it is said that he is a descendant of the Fujiwara no Takaie¹. Takaie was the 4th son of Fujiwara Kitaie², who belonged to one of the Fujiwara lines that used the Hidari Mitsudomoe as a family emblem. This is primarily because Kitaie’s family were worshipers of the deity Hachiman (god of war), and helped spread its influence throughout Japan with the construction of many small shrines. This theory tends to be the common and most feasible in Japanese sources.

Next, a point to consider is the connection between the Kuki family and their role within Shinto practices. For many generations they have served in Shinto shrines, from when their ancestors were still a part of the Fujiwara clan, to even after this when the Kuki clan established in Kuki Ura. If we look at when several members served as betto³ (chief administrative of a temple) for the Kumano Hongu Taisha, the perception of the tomoe with its spiritual connections and as a mark of protection was already in place at the time. Being the shinmon (deity emblem) of Kumano Hongu Taisha, the Hidari Mitsudomoe can be found all over this shrine. Another interesting point is that another emblem called “Jurokuyae Omotegiku⁴” (a type of Kikuka⁵ emblem) is also associated with this shrine. On top of this, the Kuki clan uses a combination of both emblems, with the Hidari Mitsudomoe overlapping the other. Apart from the association due to the connection with Kumano Hongu Taisha, I am not sure the reasoning behind using both emblem in such fashion.

HEREDITARY REPRESENTATION

Kuki Yoshitaka is generally mentioned in association with the Hidari Mitsudomoe. It’s stated that on such items like the back of his jinbaori⁶ (a special vest worn by a commander) and the flag of his large ships bore the Hidari Mitsudomoe mark. Other members of the Kuki clan also used this emblem openly. Of course, this was by those who inherited it or were granted permission to use it. Places where this can be seen at an abundance are where they had resided as land owners, such as Kuki Cho.

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A pic of a miniature-scaled large battle ship “Nihon Maru” (日本丸). From the book “Kukishinden Zensho”.

A town in Kuki Ura after Kuki Ryūshin moved his family to reside there, Kuki Cho is an area where the Hidari Mitsudomoe saw great use. Apart from being used as a family crest, many old buildings within Kuki Cho are said to bear this crest along the eaves of roofs and sides of the walls. It is also found on grave sites of certain Kuki members as well. Due to their control over this area, it would make sense that they would express their presence in such manner. The same can be said in other places such as where Toba castle once stood (Toba, Mie Prefecture).

WRITINGS FROM THE KUKI

In the book “Kukishinden Zensho: Nakatomi Shintō, Kumano Shugendō⁷”, which is based heavily on the documentations kept in the care of the main line of the Kuki clan, features a page with a discussion on the Hidari Mitsudomoe. Other than stating much of the popular conceptions about this emblem explained in part one, this also contains views and insights about what it means to the Kuki clan itself. Below are a few excerpts from that page, with the actual Japanese text followed by my translations.

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The page from the book “Kukishinden Zensho”, where the original Japanese text about the Hidari Mitsudomoe is taken from.

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因みに九鬼家の家紋は、三個三ツ頭左巴…である。

Incidentally, the triple 3-head left sided comma…is the family crest of the Kuki clan.

漢字の「巴」（ハ）は、蛇などがトグロを巻いた姿を表わす象形文字と考えられ、転じて水の渦巻きを象微する文字ともいわれている。従って「水の渦巻き」から防火の呪符として社寺の鐙瓦（アブミガワラ）にも用いられるようになった。

This kanji “巴” (ha⁸) is thought to be a hieroglyphic character representing the appearance of a snake or of such nature coiling upon itself. It’s also said to to be a character that symbolizes a whirlpool’s turning waters. As such, from this idea of “whirlpool’s water”, it was then used as an abumigawara (a roof tile consisting of a semi-cylindrical tile and a decorative pendant) for shrines and temples as a charm to ward off fire.

この三つ巴は、天地人・智仁勇、あるいは宗教的に『神・現・幽』を表わすものと考えられている。けれども九鬼家の場合は、高御位神宮天祖太源神拝詞にもあるごとく…。

The 3 commas is thought to express (3-point) ideas such as heaven-earth-person (creation of all things), wisdom-virtue-valor (3 primary virtues), and the religious idea of “spirit–present-astral” (3 boundaries of the physical & spiritual realms). However, in the Kuki clan’s case, this is also found in the Shinto prayers to the grand kami of the Takamikura Jingu, a shrine that they also have a connection with….

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The last point is key to understanding the significance of the Hidari Mitsudomoe to the Kuki clan, for it is very unique to them; the 3 commas are symbolic of Mihashira no Ookami⁹, or 3 grand gods pinnacle to the creation of all things within their version of shinto. There’s also connections to the term “mitsu no tomoshibi¹⁰” (3 guiding lights), which involves the rescue of Southern Emperor Godaigo, along with the 3 sacred treasures that were retrieved by and protected by Kuki Ryushin in the 1300s. However, despite these details explained in the aforementioned book, trying to understand the full gist of all this is a difficult task to undertake for many reasons, which will steer far away from this post’s main focus, which is on the Hidari Mitsudomoe.

ENDING

We’ve reached the end of this topic regarding the Kuki clan’s use of the family emblem called Hidari Mitsudomoe. As mentioned from the 1st post, there is much history regarding the tomoe emblem, let alone the Hidari Mitsudomoe. The same can be said with the Kuki clan due to their religious background and beliefs. I hope that touching upon different aspects of this has helped to get an understanding its relationship with the Kuki clan, and why it would be used as their kamon. Thank you for reading, and stay tuned for more!

1) 藤原隆家. The “no” part is generally omitted in written form, but said verbally.

2) 藤原北家

3) 別当

4) 十六八重表菊. This is considered an imperial emblem.

5) 菊花

6) 陣羽織

7) 九鬼神伝全書中臣神道熊野修験道. Written by Agō Kiyohiko (吾郷清彦), an associate to the main line of the Kuki clan who was given the task of reviewing & archiving their many documents.

8) “Ha” is another pronunciation for tomoe. This is onyomi (non-native Japanese reading) for this kanji, and is shown that to be so as it is written in katakana, which is one of Japanese’s writing styles and can indicate words that are foreign.

9) 三柱大神

10) 三つの灯火

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Kuki Archives: Hidari Mitsudomoe ~ Part 1

Previously, I had spoken about the Kuki clan and the 2 kamon¹, or family emblems, they are known by. I spoke extensively about the 1st family crest, Shichiyō (七曜), many months back here. The 2nd family crest, Hidari Mitsudomoe (左三つ巴), will finally be highlighted, as it is the most recognized out of the two. Since the roots of the Hidari Mitsudomoe are ancient and have a significantly long history, much of the discussion will focus soley on these as a whole. Dividing this topic into two parts, part one will cover much of these roots, from the various meanings, their influence on theoretical views, how they’ve cemented important roles within Japanese culture, as well as the variations in design. Through this, we can transition smoother into discussing solely on the Hidari Mitsudomoe and its history with the Kuki clan in a 2nd separate post.

ARCHERY

The Hidari Mitsudomoe is better understood as a spiraling design most frequently called a “tomoe” in Japanese². The word tomoe is believed to have been derived from archery. There are records that point to its roots being that of an armguard worn on the left hand used during archery in ancient times. This special armguard was called a “tomo” (Japanese linguistics), and the written kanji for it is “鞆”. Another thought is that the tomo was a circular design on this type of armgurad. When referring to this based on visual representation, one would say “tomo-e” (鞆絵), with the 2nd kanji meaning drawing or picture. Eventually the word tomoe became its own word, and its kanji was simplified to “巴”. This is what is used today. We can look at this as being the basis of its conception.

In the series of illustration scrolls collectively known as “Nenchu Gyoji Emaki” (年中行事絵巻), there is a drawing of 2 archers, both wearing a tomo around their left wrist. The 1st pic is a section from that particular scroll (includes a drum with the actual tomoe mark). 2nd pic is the enlarged section of the archers. The 3rd pic is a colored version, from Wikipedia.

CHINA

The symbol of tomoe is said to have strong roots from China’s ancient times, where its original source stems from. There are numerous ideas on how the tomoe came about from surviving records from China’s past, but no way to prove which explains the beginnings of its use. One theory about this circling pattern is that it represents a whirlpool, while another states that it represents the coiling of a snake. Usually indicating 2 or more intertwining forces, this image inspired different forms and usages throughout Asia.

There is the theory about the tomoe which is based around the kanji “巴”. It is said to have been a hieroglyphic character that represented a person whose stomach doubled in size. Whether this is a symbolic meaning of “overeating”, or something different, is difficult to distinguish. The magatama (勾玉), a curved “comma-shaped” jewel first prominent in China, also represents this kanji, and has its own theories for its conception.

Above is a tomoe emblem well recognized in Daoism. Next to it, a depiction of eternal rivalry between the tiger and dragon from Eastern culture. Generally both creatures represent a philosophy dirctly opposite of each other. While seen as a conflict, in reality both are needed to be complete, such as expressed in ying yang theory.

A general universal use of the tomoe as a pattern is where it consists of two parts, being made up of 2 commas. These commas entwine endlessly in a circle, with the head (larger section) of one comma chasing after the tail (the slimmer part) of the other. The head of the commas can refer to the intertwining of 2 individuals; this can be a figurative, or even literal, conflict between these individuals in the form of rivals. In China, this theoretical imagery has a strong connection with Daoism, such that the concept of the everlasting battle between the tiger and dragon found in many folktales and cultural-related activities represent this theory very well.

JAPAN

When the concept of the tomoe came to Japan, it too spread and evolved in different ways. For example, when the comma-shaped jewels called magatama made their way to Japan, they were acquired by certain wealthy families. These jewels were symbolic of divine spirits, and even played an important role within Japan’s story of creation³. Worn as a necklace consisting of many of these commas, these magatama are said to have been used in ritualistic practices to ward off evil and misfortune. They are said to have connections with the tomoe emblem as well.

2 pictures of Iwashimizu Hachimangu located in Yawata City, Kyoto Prefecture. One of many shrines dedicated to the deity Hachiman around Japan, this features the Hidari Mitsudomoe emblem, such as those on the banners in the 1st pic, as well as along the edge of the roof and golden lanterns in the 2nd pic. Pics were taken by Hideki and Genji, respectively, on Pixta. Used with permission.

After such families disappeared, these magatama became hard-to-find relics, but their religious like tones persisted. In time, the tomoe was widely incorporated in religious practices. As an example, beginning from the late 700s onward during the Heian period, many shrines and temples, as well as homes, placed the tomoe as an emblem near their rooftops and doorways as a talisman to ward off misfortune and disaster, such as fire. Along with that, it was utilized as a shinmon (神文, emblem of a deity) by shinto shrines that worshipped a god named Hachiman⁴, who represents the god of war. Elite families, such as the Seiwa Genji (清和源氏) and Kanmu Heishi (桓武平氏), were large supporters of the deity Hachiman. Due to its symbol of strength in battle, these families spread the practice of the worship of Hachiman to many military families, as many adopted this for the sake of praying for victory in battle⁵. Through this, some other families also made the tomoe a family emblem, or added it as an addition to the one they have.

DESIGN AND VARIATIONS

While one of the most familiar design of the tomoe is of the symbol of Daoism (made up of 2 commas), it is not certain if this was the original design in conception. However, it is safe to say that there are numerous designs in history. Later, different variants were created; while their uses varied depending on the person and lifestyle, many of these patterns were used as kamon (家紋, family crests), shinmon (神文, deity crests) and jimon (寺紋, temple crests).

Hitotsudomoe (一つ巴). This has a clockwise turn.
Futatsudomoe (二つ巴). This has a counter clockwise turn.
Mitsudomoe (三つ巴). This has a clockwise turn.
Yotsudomoe (四つ巴). This has a counter-clockwise turn.

Arima Tomoe. Used by the Arima clan. What makes it different from the standard Mitsudomoe is that the tail ends are longer than normal.
Onaga Mitsutomoe (尾長三つ巴). Means 3 commas with very long tail ends
Kuyou Tomoe. Based off of astronomical and auspicious views originating from India. Also known as Itakura Tomoe (板倉巴)
Fuji Tomoe. Family crested used by the Kuroda clan.

Examples of common tomoe emblems. Click on each for a brief description. From Wikipedia.

There are designs that range from using just one comma, to up to four commas. Then there are a those composing of small differences such as size, while others possess elaborately complex designs, such as the “kuyou⁵” type. A tomoe is further identified by the direction of its spin; the head of the comma can curve clockwise or curve counter-clockwise. This type of spin was traditionally used to indicate which side it is placed on in certain situations, such as clothing, which then identifies what type of tomoe it becomes. For example, if placed on the left side of the body, then the one with the clockwise spin is used, and is labeled a hidari (left) tomoe. Reasoning behind this is if you place the tomoe on the back of the left hand, the head of the comma has to be turning towards the left thumb. The rule is opposite for the right side of the body; the tomoe turning counter-clockwise is used and is labeled as a migi (right) tomoe.

In a case where the number of comma and direction of spin played an important role is seen through wa-taiko (和太鼓), or Japanese drums. During the Heian period, within the main building of a Shinto shrine were various drums used for specific purposes. They needed to be placed in a particular fashion. To distinguish these, drums that were placed on the right side would bear a tomoe mark on top which had 2 commas with a counter-clockwise (right) spin, while the drums on the left would have a tomoe mark which had 3 commas with a -clockwise (left) spin. Take note that this was not always consistent, as these rules may have changed with each generation. There are other meanings behind this which are related to in-yo (ying yang), but the visual differences are what stick out the most.

As a whole, there are over 100 designs in Asia alone. Japan has its own designs that are unique, with a good number of them being family crests. Note that some of these designs are variants of others, which could mean that these variations are merely cosmetic.

CONCLUSION

Here ends the first part regarding the Hidari Mitsudomoe. More of an overview of its roots from a historical and cultural perspective both in and outside of Japan, we get an understanding of how it is generally conceived and its purpose in use. Please check back in a few days for part 2, which will go much further in discussion both on the Hidari Mitsudomoe and how the Kuki clan not only acquired this as a family crest, but how it is deeply connected to their family and religious practices.

1) 家紋

2) Take note that “domoe” is the same as “tomoe”, only difference is in pronunciation. In cases where tomoe is attached to another word, it will change to domoe. However, this is not always the case, such as the topic at hand. While generally called “Hidari Mitsudomoe”, there are cases where it is instead pronounced as “Hidari Mitsu Tomoe”. Factors for this are very lenient, so both cases are correct.

3) Within old stories such as Kojiki (古事記, Records of Ancient Matters) and Nihon Shoki (日本書記, The Chronicles of Japan), the magatama was portrayed as “Yasakani no Magatama” (八尺瓊勾玉, Long [approx. 8 ft] string of Curved Jewels), which was one of three sacred treasures of the gods. The concept is symbolic, as replicas of these treasures are currently kept by the imperial family in Japan.

4) 八幡. Generally referred to as the deity Hachiman (八幡神, Hachiman shin), also known by the (older) name “Yahata no kami”, as well as several other titles such as “Hondawake no Mikoto” (誉田別命).

5) While often recognized as the “god of war” (武神, bushin), he was specifically called a “god that brings fortune in battle”, or “bu-un no kami” (武運の神) .

6) 九曜.

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Legend of the Suzuki Clan ~ Part 2

Been away from my blog for a little over a month working on a special project. I was very happy to be chosen to participate in it, although it took up most of my time to do anything else. My role in this project is finally done, and should be in the process of completion. I will share news about this project when time draws near to its public announcement.

Without any further delays, I present part 2 of my discussion on the famous Suzuki Shigetatsu and the rest of the Suzuki clan.

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In part 1, we discussed about the roots of Suzuki Hyūga-no-Kami Shigetatsu, along with a short historical review of him and his family line’s activities during Sengoku period. There are few sources that credit him as a famed military strategist, as well as refer to the Suzuki clan’s military capabilities. The goal for today’s post is to look into the miltary skills and experiences the Suzuki clan possessed as a whole, as well as other external sources that add to their nobility status.

SUZUKI RYU GUNGAKU

From the information readily available about the Suzuki clan of Terabe, their military career had many low lights. They faced many defeats at the hands of superior armies, yet were interesting still considered an elite family. With this in mind, what makes their military knowledge, which Suzuki Hyūga-no-Kami Shigetatsu shared with Yamamoto Kansuke, valuable?

yamaga_shiro_zu

Here’s a diagram from the document “Yamaga ryu Shirotori no Zu” (山鹿流城取の圖), which illustrates establishing a fort on a seamount and river. Could this be related to what Kansuke learned from Shigetatsu?

The strategies for warfare, such as shirotori¹ (establishing one’s fort during times of war and peace) that come from the Suzuki clan is often called “Suzuki ryu Gungaku²”. This labeling is common to indicate military-centric methods and ideology that is tied to a particular family or group. While Suzuki ryu Gungaku is also noted to form the basis for many other schools of military thought, such as Yamaga ryu and Kōshū ryu, there are no actual physical sources of this Suzuki ryu Gungaku, making it impossible to compare. Was the Suzuki clan’s strategies for warring that significant, or was it a case of mere attachment to bolster another family’s military credibility?

According to sources such as “Kanbon Nihon Bugei Shoden³”, Suzuki ryu Gungaku falls under several other names, including Hojo ryu, and Genji ryu. This indicates that the Suzuki clan shares a connection to other prestigious families with a military-centric background, which potentially contributes to their strategies on warfare.

Taking a look from a historical standpoint, the Suzuki clan that were servants of the Fujishiro Shrine grew to have many branches, with some conceived from other families in different parts of Japan. While bearing the surname Suzuki, some of these other lines also do not hesitate to state roots to other well-established & resourceful clans. Below is a brief rundown on three famous clans whom the Suzuki clan not only claim a connection to, but possibly contributed to the famed Suzuki ryu Gungaku one way or another.

(From “Kanbon Nihonbugei Shoden”, it is mentioned how Suzuki ryu is seen as one of the sources for other styles of military strategy. On page 46, a sample of a version of Yamage ryu’s lineage is listed, which is written as so:
Suzuki (Shigetatsu) → Kansuke (Yamamoto) → Hirose Gozaemon → Hayakawa Yazaemon → Obata Kagenori

MINAMOTO RELATION

  • The Minamoto clan (源氏) was an elite, military family. Being bestowed their surname from the imperial court, the Minamoto clan had an illustrious resume during the 12th and 13th century. This included their successful victory against the rivalling Taira clan, as well as gaining the imperial edict to control Japan, albeit for a limited time.
  • The Suzuki clan’s claim of blood ties with the Minamoto clan was through the noble Nishina family (仁科氏) of Shinano no Kuni. The Nishina family were also influential in their own rights as they bore royal roots through Shigemori of the Kanmu-Taira family.
  • In documents such as “Iwashiro Nishina Keizu⁴” and “Heike Monogatari⁵”, certain individuals are mentioned to have dealings with the Minamoto clan. This happened during the conflicts of “Jishō Jūei no Ran” (Disturbance during Jishō period and Juei period), which spanned from 1180 to 1185.
  • At the same time, a few Suzuki clan members were involved on the side of the Minamoto clan as well, as mentioned in old texts such as the “Gikeiki⁶”. This includes the nephews of Suzuki Shigeyoshi (鈴木重善)⁷, Shigeie (重家)⁸ and Shigekiyo (重清), who both met the famed commander Minamoto no Yoshitsune in Kishū Kumano. From there, they fought side by side in many battles with him against the rivalling Taira clan (平氏).
  • Speculations are that the relationship between the Nishina clan and Suzuki clan happened around this time. However, details of this are very scarce. It’s possible this relationship ranged from the marriage between certain members from each side to the adoption of the other clan’s surname.
  • Due to their ties with both Minamoto clan and Nishina clan, and the fact that they fought side by side, the Suzuki gained further knowledge of warfare. How much of it was recorded as tactics for future use is unknown.

KUSUNOKI CONNECTION

  • Suzuki family of Terabe, like a few other Suzuki lines, claimed blood relation to a famous strategist by the name of Kusunoki Masashige (楠正成)⁹.
  • Masashige was famed as a true, naturally gifted strategist during the 14th century, for he went beyond the standard tactics that were derived from Chinese text, and brought forth those that directly reflected the progression of battles that took place at the time.
  • The Suzuki clan’s claims of direct blood relations was through the marraige to one of Masashige’s relatives. One version of this claim is that the birth mother of a Suzuki Shigenori (鈴木重範) was a member of the Kusunoki clan. Another side of the claim states, specifically by the Suzuki family of Terabe, that while Suzuki Shigenori was employed at the Southern imperial court in the early 14th century, his son Shigekazu (重員) was the one who had a child with Kusunoki Masashige’s daughter, Masako.
  • Due to the blood connection and the fact that both sides supported the Southern imperial court, it’s possible that the Kusunoki methods were shared with the Suzuki family that would later reside in Terabe, and thus incorporated into their military tactics. Or could it be a case where the simple blood ties is used to bolster their image?

kusunoki_pic

There are few documents in existence of Kusunoki Masashige’s teachings on warfare. For example, from the “Kusunoki Masashige Ikkansho” (楠正成一巻書) is a section called “Shirozeme Rōjōshō no Kokoroe no Koto” (城責篭城ノ心得ノ事), which discusses strategies a commander can use against an approaching enemy force while occupying a fort (left side of the pic above). Did the Suzuki family of Terabe also make use of the same information?

HOJO CONNECTION

  • The Hojo clan (北条氏) was a prominent family between the early 1100s to the 1300s that claimed governmental control and authority on administrative activities behind the scenes. A clan with a long history, they also had other branches of family lines that would be influential in their own respect.
  • Members of a Suzuki family line from Enashi village became retainers for the Go-Hojo family (後北条氏), which was a particular line that claimed to be descendants of the royal Kanmu Taira line through the Isei Hojo clan.
  • This Suzuki line began with Suzuki Shigetomo (鈴木繁伴), who would settle in Enashi Village in Tagata District, Izu no Kuni (present day Izu Penninsula of Shizuoka Prefecture) in around the early 1330s.
  • The 1st member to become a retainer was Suzuki Shigemune (鈴木繁宗). In 1493, Shigemune would enter the Izu suigun (Izu Navy), which was under the service of the Go-Hojo clan. This navy was also labeled as “Hojo suigun”.
  • The 2nd member, Suzuki Shigesada (鈴木繁定), would become a vassel to Go-Hojo clan, as well as warrior/commander in the Izu Suigun during the 1500s
  • The 3rd member, Suzuki Shigeuji (鈴木繁氏), was also a descendant of the Suzuki family from Enashi Village. He would serve under Go-Hojo clan when reaching adulthood. However, this servitude ended abruptly upon the Go-Hojo’s defeat at the hands of Toyotomi Hideyoshi’s forces during “Odawara Seibatsu” (Conquest of Odawara).

Bearing such an elaborate history, one would imagine that a military manual or memoirs of some sorts would exist to verify the extent of the Suzuki clan’s knowledge, especially from the Suzuki family of Terabe. From what has been stated by other researchers, there is none. There can be many reasons for this, including all documentations lost along with Terabe castle after their major defeat at the hands of Sakuma Nobumori. We can only imagine what type of knowledge it could’ve been through remaining sources such as Yamamoto Kansuke’s teachings.

This wraps up our discussion on the Suzuki clan. As a whole, the Suzuki clan possesssed a long history, which involved other prominent and noble clans. While their involvement in various military campaigns told through historical documents warrant they possessed some experience on the battlefield, there are no physical evidence in the form of notes just how well-versed their own strategies were. Just how talented Suzuki Hyūga-no-Kami Shigetatsu was as a strategist, we may just never know.

1) 城取り

2) 鈴木流軍学

3) 完本日本武芸小伝. A compilation of 2 older books, as well as new content: Honcho Bugei Shoden (本朝武芸小伝), Shinsen Bujutsu Ryūsoroku (新撰武術流祖禄). Author/compiler was Watatani Kiyoshi.

4) 岩城仁科系図. This is a document that outlines the lineage of the Nishina family.

5) 平家物語. An 8-part series of the events that transpired between the Taira family and Minamoto family during the 12th century in the form of a war story. Written during the Kamakura period (1185-1333), the original author has yet to be determined.

6) 義経記. Like the Heike Monogatari, the Gikeiki is also a story about the conflicts between the Taira clan & Minamoto clan, but the perspective is mainly from the viewpoint of the protagonist, Minamoto no Yoshitsune. Compiled into an 8-part series, it’s believed to have been written between the Nanboku period and Muromachi period. Author is unknown.

7) He was discussed abit in part 1.

8) Suzuki Shigeie was also known by the nickname “Suzuki Saburō” (鈴木三郎). Oftentimes, his full title is written as “Suzuki Saburō Shigeie” (鈴木三郎重家).

9) In some cases, also written as 楠木正成.

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Dispelling the Misconceptions of Bushido

Recently, I came across a conversation while watching a video about Bushido. Much is mentioned, from its interpreted image to how it should truly be understood. Bushido, as a topic, is one that is mainly misinterpreted, especially outside of Japan. For this post we will look at the various angles concerning Bushido, and try to define it from a historcal point of view.

Let’s first set our attention to the conversation regarding Bushido. It comes from the video “Way of the Warrior -The Samurai Way”¹, which features the martial tradition called Tenshin Shōden Katori Shintō ryu. During the video, the leading head instructor, Ōtake Risuke, gives a lecture to his students regarding Bushido, as it relates to their training. Below is the full Japanese text of his lecture which was transcribed from the audio, followed by my translation in English².

This lecture on the topic of Bushido can be directly compared to a book called “Hagakure³”, which is possibly well known amongst many practitioners of Japanese martial arts. The contents of this book features the memoirs of Yamamoto Tsunetomo, and his views on both Bushido and the way samurai should live. Although he was a samurai in his younger days, it should be noted that he was so during peaceful times. Not only did he never step foot on the battlefield, but was disgruntled at how the samurai class had became burdened with bureaucratic work. On top of that, his opinions on the topic of Bushido was solely on his romanticize belief on what Bushido should be, which includes his views on death and the use of suicide⁴.

The purpose of today’s post is to hopefully bring some light on a topic that has been misunderstood, even in its native country. To get a clear understanding on what Bushido was, as well as the samurai who followed it, one needs to look into the pages of history.

My copy of “Hagakure”, which was bought many years ago.

WHAT IS BUSHIDO

The formalizing of the word Bushido is much recent than one would imagine. It was first discovered in a military journal call “Koyo Gunkan”, a historical recordings of the Takeda clan which was compiled by Kasuga Toratsuna⁵ during early 1600s of Edo period. In the Koyo Gunkan, the use of Bushido was as a label in referencing to qualities those who were considered bushi, or warriors in English, should follow both in lifestyle and profession. This term was not any different from older terms⁶ serving the same purpose, although some changes and adjustments made over the centuries in accordance to how the society of Japan evolved.

Bushido was, at the time, a philosophical view, albeit abit romanticized in its own rights. The “traits” that a true warrior was supposed to possess in accordance to this included being loyal and true to his lord, humble yet virtuous, brave under extreme conditions, and striving to do his best. While an honorable philosophy at best, Bushido was not the official term throughout Japan, as warriors belonged to different areas, served different lords of completely different domains, and followed their own rules and ethics according to which groups they belong to. There were probably similarities between the way warriors conducted themselves in general, and Bushido (if it could serve as a universal label) may possibly describe these similarities in one nice package. On another note, it’s also important to understand that this word wasn’t commonly known even to the general public until early 1900s.

Looking through the pages of history, you’ll find many accounts of how warriors handled their lifestyle that should attest to what Bushido represents. During times of war they had a role, and that was to ensure their side were the winners. In times when battling a rivaling warlord, warriors had to do their part to see victory, from executing proper formations on the battlefield, ensuring supplies and equipments were at hand, and defending their forts and castles. They worked together as a unit, and were trained to avoid rash and egotistical behavior. No warrior was perfect, but the groundwork placed for them was strict.

THE ROLE OF DEATH

Within the philosophy of Bushido, there is the notion of death, as this is a topic warriors would most likely face early in their career during the warring periods in Japan. Did they acknowledge death? Most likely, yes. However, not in the sense of killing themselves when they messed up or have failed in their duties. Instead, it was treated as a means to put their all into their life. In other words, they needed to be willing to die for what they believed in. This in turned not only allowed them to abandon fear, thus allowing them to accept the possibility of death, but to put their heart & soul into their tasks 100%, and continue to live. In a way, they learned to appreciate life and live to their utmost fullest…until their last breath. This understanding is what propeled famous warriors such as Miyamoto Musashi and Tsukahara Bokuden to be so successful in their careers as warriors when engaging with opponents both on and off the battlefield, and live long enough to talk about it.

With the acknowledgement of death, they could feel the need to do everything in their power for success while they were still alive. Many warriors had families they needed to care of, so working hard in gaining employment under a powerful warlord, earning merits through fighting fiercely on the battlefield, and receiving rewards was top priority. Bushi had much to live for, as they weren’t any different from warriors of other countries.

ABOUT THE SAMURAI

The term samurai did not become a permanent label for those of the elite warrior class until during Edo period⁷ (early 1600s). There were always those elite warriors who served a lord and received better living conditions & exclusive martial training, but their status evolved over time, which meant their roles in society, how they engaged on the battlefield, and the luxuries they could acquire changed. It was a responsibility that those priviledged in being born in a samurai family took pride in, and those not born to bear such title sought to earn. A prime example is Toyotomi Hideyoshi, who was born the son of a poor farmer, but rose up to enter the warrior class and become one of Japan’s most powerful and influential warlords during the 1500s.

As the samurai, while still active as warriors, became a status and class within the social caste, following what is generally labeled as bushido was imperative. They took it seriously until the very end. Along with understanding the ways of war, they were also educated, and learned in the arts. Some made contributions through poetry, calligraphy, and tea ceremony. This is a testament that for the samurai there where avenues that promoted a sense of balance in their lives.

REGARDING FAILURE

In Japan, there is an old saying that goes as so: “nanakorobi yaoki⁸”. Translated it states “when you fall 7 times, you get back up 8 times”. Simple to understand, no matter how many times you fail at something, you try again and again until you get it right. Everyone fails at one point or another in life. Even warriors of the samurai class were not exempt from failure.

Famous figures from history books are great examples, for not only was their accomplishments recorded, but their loses were documented as well. Like the old saying above, they picked themselves up, learned from their mistakes, and tried again, which in turn allowed them to accomplish amazing things. If Yamamoto Kansuke were to have ended his life early from failure in gaining employment due to his physical imperfections, would this not prevent him from becoming one of Takeda Shingen’s most reliable military strategists? If the skilled warrior Yagyu Munetoshi were to have killed himself due to shame after losing several duels against Kamiizumi Hidetsuna, would this not have prevented the birth of Yagyu Shinkage ryu Heiho? If Tokugawa Ieyasu regretted retreating due to the big lost faced during the Battle of Mikatagahara and commited seppuku⁹ instead of having his portrait taken, would this not prevent his successful unification of Japan years later?

FINAL WORDS

It is unfortunate that the modern interpretation of Bushido is misleading outside of Japan, especially for many years. In learning about Bushido, one must look to sources that have a connection to the past, as well as to those who can properly interpret it from its native language. I hope this post may contribute to promoting a clearer understanding regarding this topic, as well as help guide those who wish to research further.

1) “Way of the Warrior” was a 7-part series filmed by BBC, and aired on TV in the 80s. Tenshin Shōden Katori Shintō ryu’s part was the 7th and final one of the series.

2) The original video already had translations of the lecture. However, as there are some nuances that differ from the original Japanese in that particular translation, I chose to provide my own to give a clearer understanding to what Mr. Ōtake is discussing.

3) Here is some background information. The book “Hagakure” (葉隠) is a collection of commentries by Yamamoto Tsumetomo (1659-1719), who was a retainer of the Saga Domain ruler Nabeshima Mitsushige during the Edo period (1603-1868). The contents of this book primarily deals with Tsumetomo’s life, his issues under his lord, and his dismay regarding the decline of the samurai class. What really draws attention to this book are his beliefs of what Bushido is; for the most part, he defines Bushido as the way of death, and that the samurai should live not only as if they are dead, but be willing to die at a moment’s notice, including alongside their lord. At the time these memoirs were written, Tsunetomo was an elderly monk, and had long removed himself from the samurai class.

4) The use of suicide by samurai here refers to the ceremonial-like method of taking one’s life, which is called “seppuku” (切腹). Seppuku is conducted with a person going into a kneeling position, plunges a knife into the gut, then cut across the stomach. Note that this is referred to as “harakiri” (腹切り) outside of Japan since modern times, which in turn the Japanese have also accepted the use of this word.

5) 春日虎綱. Also known under the name of Kōsuka Masanobu (高坂昌信) .

6) Like Bushido, the older concepts that outlined the ways of the warrior were based on different time periods and defined by the way warfare was conducted. Some examples are “Kyūba no Michi” (弓馬の道) and “Buke Shohatto” (武家諸法度).

7) The label “samurai”, as it is known now, was used late in Japan’s history. In fact, the conception of the word went through different transformations. Dating back to the Heian period (794-1185), its roots come from the colloquial term “one who serves”, which was primarily reserved for those who were employed by nobility. It had different pronunciations over the centuries, from “samorau/samora(h)i” to “saburau/sabura(h)i”. The final transformation to “samurau/samurai” came sometime around mid-century, and into early Edo period.

For a few centuries, it had no implication of those servants having any relations to the warrior class, or even a person studying martial combat as a profession. There were other terms that defined those following the path of the warrior, from the older term “mononofu” (モノノフ), to more medieval terms such as “bushi” (武士) and heihōsha (兵法者). “Bushi” was predominantly the universal term, which did not make much distinction between elite warriors and low-ranking warriors (there were other titles for that).

As for when the term “samurai” first came into use, it also was a universal term for “warrior”. However, this was later changed sometime early Edo period (1603-1868), where it became reserved for those warrior families that served as retainers for the nobility and warlords.

8) 七転び八起き. There is another way (possibly older) to read this, which is “shichiten hakki” (七顚八起). Other than a difference in pronunciation, the 2nd kanji is also different, albeit having the same meaning in this case.

9) See #4

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Revisiting the Shichiyō through Takaharu

During research regarding areas some members of the Kuki family resided at in the past, I’ve come across a lot of interesting information. One of this is a short bio on Kuki Takaharu, the 2nd generation of the original line. What I wasn’t expecting in his bio was a description regarding the Shichiyō emblem used by the Kuki family. While I made a post regarding one concept of the Shichiyō before called “Kuki Archives: Shichiyō“, the new information in today’s post gives a slight variation regarding its meaning.

The source of this info comes from the site “Shashin de Miru Kuki Suigun Hasshō no Chi“¹, which has a good amount of information regarding some of the earlier Kuki members taken from old publications. Below is the bio for Kuki Takaharu, in its original Japanese, follow by my translation in English.

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二代隆治（たかはる）

隆信の長男、南朝に奉仕宮内少輔に補された。

後村上天皇より倫旨を賜る（寛永十七年火災で焼失）

天授元年（１３７５）春九鬼浦、帰路に難に遭い、平生崇拝している、北野天満宮の霊験より難を逃れるれ

翁が突然現れ、南方の七曜星の輝き目標の進むよう諭しあり無事九鬼に帰る

城の西北の浄地に天神社を創建、五人張の弓、箭を神幣とした、この地を「宮ノ谷」と称す

家紋も左三巴であったが、神恩を記念し、七曜星を表紋、巴を裏紋として是より、用いた

Takaharu, 2nd Generation of the Kuki (original) Line²

Ryūshin’s oldest son, he was appointed to serve within the Imperial palace of the Southern court as assistant vice minister. This was bestowed upon him through the order of Emperor Gomurakami. (this order was lost in a fire in the 17th year of the Kanei period (1640) )

During the Spring in the 1st year of the Tenju period (1375), Takaharu faced much difficulties on the path back to Kuki Mura. While on his routine worship session at Kitano Tenmangu, he was able to overcome this difficulty through a miracle.

An old man suddenly appeared before him, and advised Takaharu to follow along the bright lights from the “7 Stars” (aka Big Dipper) that are to the south in order to return home. With haste, he did as was told and made it back home to Kuki Ura.

To the northwest of Kuki Jo (Kuki Castle), a shrine for a heavenly deity³ was built on purified grounds. A “goninbari no yumi⁴” and arrows were offered as a shinpei⁵ to this shrine. This location is called “Miya no Tani”.

The Shichiyō is the Kuki clan’s emblem. On the other hand, the Mitsudomoe is also used as a family emblem. The Shichiyō is the “omote” (visible) emblem as it is honored for its divine blessing, while the Mitsudomoe is the “ura” (hidden) emblem.

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The conception of the Shichiyō may have been through Takaharu, based on his bio. The Shichiyō, in this case, appears to be related to the Big Dipper, which in Eastern Asia is referred to as the “Seven Stars of the Northern Dipper”⁶. Takaharu used the placement of these stars to find his way home, most likely by boat. This makes sense, as the Kuki specialized in sea travel through their navy, and using the stars for navigation on the seas would be a must. On top of this, the Shichiyō emblem was considered the main one used to represent the Kuki clan, while the Mitsudomoe was a secret one.

This post makes for a good continuation of the aforementioned post mentioned above, for it helps answer some questions that I originally had regarding the Shichiyō. In a future post, we will address the Mitsudomoe emblem, and see what can be learned from its history.

1) 写真で見る九鬼水軍発祥の地

2) Takaharu is also recognized by the last name “Fujiwara” in certain sources.

3) This shrine was called “Tenmangu”. Later, it’s name was changed to “Kuki Jinja”.

4) 五人張の弓. A bow that is prepped for use by 5 people. 4 people bend the bow, while 1 person strings it.

5) 神幣. A shinpei is often called a nusa (幣), which is a wooded rod with zig-zag paper streamers tied on the top end. It is used in Shinto rituals. For the case mentioned above, wooden arrows were used to form a nusa.

6) This is called “Hokuto Shichisei” (北斗七星) in Japanese.