Weapons and Gear

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

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

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

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

BELOVED SWORD OF THE HŌJŌ CLAN

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

An ukiyoe of Hōjō Tokimasa. From Wikipedia.

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

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

MISFORTUNES AS AN IMPLEMENT FOR WAR

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

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

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

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

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

THE VALUABLE TREASURE MANY REFUSED TO TAKE IN

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

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

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

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

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

ENDING

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

1) This is also the shorthand name for the sword

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

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

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

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

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

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

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Tenga Goken: The 5 Great Swords of Japan ~ Part 1

There are several icons related to Japan stand out. One of them being the katana. Both historically and culturally, there was a strong viewpoint regarding the importance of swords, way back when the warrior class still existed. In fact, there is the famous saying that “the sword is the soul of the warrior”¹. Although it was not the strongest weapon used during wars, it was nonetheless held at a high value, as a sword also represented status.

There are many stories about amazing swords coming from Japan, especially in fiction. Usually these stories are based on real versions crafted generations ago, which, in themselves, come with their own rumors and tales about being extra ordinary. Interestingly, there is one group of swords that are considered the best of their kind, known as “Tenga Goken” (天下五剣)², which can be read as “5 Great Swords of Japan” in English.

An auspicious example where tales paint a picture of a fine sword blade being enhanced through mystic means. Artwork entitled “Gekkō Zuihitsu Inabayama Kokaji”, a swordsmith by the name of Sanjō Munechika is helped by his family patreon deity Inari-myojin, who appears in child form. By Ogata Gekkō.

What could be so special about these swords that grant them such a title? What’s their origin? Who were the owners of each these five swords? Which ones were deemed supernatural? All of this will be covered in a multi-part series. Today’s article will be part 1 of this series, which will cover the origins of this claim. This will include the individuals who were experts in evaluating swords, along with recordings in the form of official documents that determine the quality level of these unique swords.

A WORD OF CAUTION

Before we proceed, let’s cover some notes that will give a broader view on this topic. While there are fairly aged books that have information regarding the Tenga Goken, it should be understood that a definitive name, along with cohesive details, were not nicely written in one go. On the contrary, it’s taken many generations, along with slightly varying descriptions, before we have an actual picture of said 5 great swords. However, is this picture real and accurate?

For starters, it is said that the following 5 swords make up the Tenga Goken:

  • Mikazuki Munechika (日月宗近)
  • Onimaru Kunitsuna (鬼丸国綱)
  • Dojigiri Yasutsuna (童子切安綱)
  • Juzumaru Tsunetsugu (数珠丸恒次)
  • Odenta Mitsuyo (大典太光世)

These are judged as 5 exemplary swords, and were supposedly chosen sometime during the Muromachi period³. However, the individual(s) who made this assessment is unknown. On top of this, the label used to group these swords, Tenga Goken, was not originally as a headline for some listing. Instead, this was derived from descriptions regarding the 5 swords from said older documents. If anything, the name and the determination of the five swords grouped as Tenga Goken was something that came into play later in the Edo period. So, while this claim of 5 great swords may have been something finalized at a much later date, what we do know is that they do exist, and some documentation about them did take place. For what it’s worth, all 5 swords are said to still exist present day, and are in safe keeping as antiques. More about this in the upcoming articles.

ORIGINS WITH THE HONAMI CLAN

We get the 1st documentation that speaks on the Tenga Goken, which is called “Meikenden” (名劔伝)⁴. Part of the collection of the Tokyo National Museum, the Meikenden was compiled in 1769 in a document entitled, “Honnami-ke no Meibutsu Hikae-cho” (本阿彌家の名物扣帳). This is a listing of established blacksmiths around Japan, and swords that are their prized works. In listings like this, each sword is judged by certain traits, which will then put each into varying categories such as their grade of quality, being a visually fine piece of work, to having a unique story in its creation.

Here is the cover of the Meikenden (left), and the page that mentions the 5 swords that make up Tenga Goken (right). The swords are identified by a red mark above them.

So, who were the Honami clan and what was so special about them? They had a long history of being recognized as sword polishers, and later as experts in evaluating sword. In surviving records, the 1st head of this clan, Honami Myōhon, established his clan’s rise during the early Nanbokucho period (1337-1392) by being employed under Ashikaga Takauji, a war commander who would later establish the 1st shogunate under the Ashikaga rule and start the Muromachi bakufu around 1338. With Myōhon establishing this connection, the Honami clan became a dōboūshū (同朋衆) to the Ashikaga clan, which means they were personal artisans of whom were considered the most powerful at the time. Although being known to have such a prestigious relationship, the Honami clan didn’t just stay idle; they also took up the occupation as merchants and traveled abit throughout Japan over the centuries. Another point to take note is that, as their clan expanded, they also branched into other arts, such as calligraphy (書道, shodō), lacquer decorations using metal powder (蒔絵, makie), pottery (陶芸, tōgei) and tea ceremony (茶道, chadō).

OFFICIAL SWORD EVALUATIONS

It wasn’t until Honami Kōtoku, 9th successor, was recognized as an expert in sword evaluation, from where his clan was permitted in establishing methods for sword polishing, as well as determining the quality and style of swords being crafted. In due time, Honami Kōshitsu (本阿弥光室), the 10th successor, created a log in the form of an orihon (折本) that list detailed analysis on different swords of the time sometime between the late 1500s to early 1600s. While the Honami clan were famous due to their start by serving the Ashikaga shogunate, over the generations they also provided service to those who seeked their expertise. This includes Toyotomi Hideyoshi in the 1500s. Lastly, in 1719, when Tokugawa Yoshimune, 8th shogun of the Tokugawa shogunate, had the 13th successor Honami Kōchū commissioned to document the know-how about his clan’s lifework as sword polishers, Kōchū created a catalog called “Kyōhō Meibutsucho” (享保名物帳). It’s highly probable that this was used as one of the bases for in the aforementioned book, “Meikenden”.

DESCRIPTIONS OF 5 GREAT SWORDS

The next book of interest is “Shoka Meikenshu” (諸家名剣集), which was compiled in 1828. What’s interesting here is that this is a copy of the older book Kyōhō Meibutsucho, which is coupled with descriptions about each of the 5 swords. This is where we get many references that lead to the label “Tenga Goken”. Below are the pages from this book where each of these 5 swords are mentioned. The name of the sword and the particular phrase are indicated by a red line. (this is placed to the right of the text in the image) This will also be accompanied by the typed Japanese text, followed by my English transliteration.

三日月宗近
「右五振ノ内也」

Mikazuki Munechika
“One of the 5 swords to the right“

Note that this sword and its descriptions are mentioned on a previous page (left), while the phrase above continues onto the following page (right)

鬼丸国綱
「右五振之内随一と申也」

Onimaru Kunitsuna
“This is said to be #1 out of the 5 swords to the right”

Note that descriptions for this sword spans around 8 pages, and the phrase mentioned above appears on the 7th page (right)

童子切安綱
「誠ニ天下出群之名刀ニ而右五振之内也」

Dojigiri Yasutsuna
“One of the 5 renown swords, This sword to the right is famous as being “truly unrivaled” in excellence“

数珠丸恒次
「天下出群之名劒にて右五振ノ内也」

Juzumaru Tsunetsugu
“One of the 5 swords to the right because it is a famous sword unrivaled in excellence“

大典太光世
「 是又天下出群之名剣五振之内也」

Odenta Mitsuyo
“This is also among the 5 swords to the right because it is a famous sword unrivaled in excellence“

Key words to take away here are “5 swords” (五振)⁵ and “unrivaled” (天下). Although the word “unrivaled” appears for 3 out of the 5 swords, it’s probably assumed that the other 2 swords should be of the same caliber if grouped in the same category.

ENDING

This concludes our look at the origins to the categorizing of the Tenga Goken. In the following articles more details will cover each sword, from the swordsmiths who made each one, to how they made their marks in history.

1) In Japanese, it is “katana wa bushi no tamashii” (刀は武士の魂).

2) Can also be pronounced “Tenka Goken”.

3) Note that the term for these swords used is “tachi” (太刀). In the past, This was determined by having a bigger curve in the blade, being around the length of a battlefield sword, and used while riding horseback. This is different from swords that were made for fighting on foot, such as the katana. On another note, the Tenga Goken were also praised as being works of art based on the craftsmanship that made them look magically appealing.

4) Note that there is 1 extra sword mentioned on the same page as the Tenga Goken in the book Meikenden, which is “Kanze Masamune” (観世正宗). This sword was made by the renown blacksmith group Masamune. While swords by Masamune are considered works of art in their own rights, they are not categorized along with the previous 5 swords, as the Tenga Goken were held in a class of their own years before this book was written.

5) This is read as go-furi (5 swords) in Japanese, whereas furi is a counter for swords. Even though the word “sword” is not present, the counter itself lets the reader know what is being referenced here.

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Taking Caution when Discerning Truth and Lies found in War Documents

There are many interesting documents of old that describe all sorts of trades, practices, cultural topics from pre-modern Japan. This is especially true for those who are enthusiasts of Japanese martial/military history, for there are many resources on said topic. Some famous documents are usually easy to obtain as great strides are taken to make these more readily available to the public. Then there are those rare gems that are part of individuals’ personal collection or found in second-hand bookstores, which, if lucky, may be shared either through exclusive meetings, events based on invitations, or even online. While it’s tempting to take all martial/military-related documents at face-value and view them as windows into the past, it’s also important to discern genuine from fabrication.

There is a term for documents that we must be wary about, which is “gisaku” (偽作). While it’s simple to translate this term as “forgery” or “fake”, this term actually has more layers to its use. There are reasons to labeling an old document gisaku, which could range from, but not limited to, the following:

  • A document having reputable information, but is a direct copy (i.e. Chinese war strategies that were copied for use in Japan, but this fact is not stated)
  • A particular family or group claiming genuine tactics, but in reality they were copied & altered to appear “genuine” (i.e. clandestine tactics that were copied from another reputable source, but arranged to fit a specific narrative unique to the individuals in question)
  • A document containing unusual/suspicious practices that may be made up (i.e. ritual practices said to be done before setting out to the battlefield, which in truth seems out of place compared to other historical recordings)
  • Stories & notes in the form of a war journal, which may be exaggerated (i.e. A family journal claiming great exploits in certain events, but unverifiable in legitimate historical records)

In the following text below, certain excerpts from a source entitled, “Buke Kojitsu Gunrei bassho” (武家故実軍令抜書, Excerpts of Customary Practices and Rules of the Samurai) will be used to illustrate this point about war documents that could be labeled as gisaku. Unfortunately, the author of this is not mentioned, which leans it closer to not the most trust-worthy of documents as there’s no way to verify the information.

KŌGAI, THE MULTI-PURPOSE TOOL

Before we look at these excerpts, I will explain some background pointers. The topic of this document is a small, sharp implement called a “kōgai” (笄). While normally labeled as a hairpin primarily used by women in the past, there was a similar version synonymous to warriors during the Sengoku Period all the way to mid/late Edo period. The kōgai used by warriors was a key component found inserted into the opening of their sword’s scabbard. Its’ usage varied slightly throughout the ages in Japan, as it went through some alterations from having specific functions to becoming a decorative standard accessory on the scabbard. The kōgai is regarded as one of the “mitokoromono” (三所物), which were 3 essential items that accompanied one’s sword (high-ranking or lower-ranking alike) , which included the menuki (目貫) and kozuka (小柄).

Image of a kōgai. From Kotobank.jp

Take note that a word of caution comes with the contents of this document; while there is evidence regarding the importance of the kōgai and the mitokoromono, it has not been verified that its usage as a multi-purpose tool as mentioned here to be true. It is also highly possible that this was written during Edo period, way after Japan was moving towards an era of peace, being that there may be some romanticizing ideas here at play that glorify things that never was practiced by warriors of old.

EVALUATING OLD PRACTICES WITH THE KŌGAI

Below are seven excerpts from Buke Kojitsu Gunrei bassho. Note that while the title for each excerpt will be translated from Japanese to English, the explanation for each will not be a direct translation, but instead will be more of a description. Also, without being too opinionated, I added a comment below for each one, mainly based on similar practices to each one.

#1: Using a kōgai to insert a head-trophy marker during a battle (軍場の首札としての使い方)
Warriors get rewarded for the number of enemy soldiers they slay on the battlefield. There are several ways of claiming one’s “head-trophy” during battle, which will then be evaluated later. One of the ways is to put a form of marker in their hair. For this document, it is said that for slain enemies who have no hair (such as a warrior monk), to pierce one’s kōgai into their ear to create a hole, in which then a head trophy marker can be inserted.

COMMENT: In my limited research, this is reminiscent of other methods of leaving a marker on a slain opponent that will be used as your prize. This one is unique for bald soldier, which is new to me.

#2: Using a kōgai when your horse is tired while in battle (軍場で馬が疲労した時の使い方)
When riding an exhausted horse on the battlefield, there should be someone, such as a stable boy, to assist with resolving the situation. When found alone and no one to help, you would use your kōgai to pierce into the lower part of its leg to perform phlebotomy.

COMMENT: Since high-ranking warriors were privileged to riding on horseback, attendants tend to be close by to assist in various ways. While some details are missing, this sounds like a method to spur on your horse to be reinvigorated by inflicting pain to it.

#3: When the Commander gives a retainer his kōgai (大将が臣下に笄をお渡しになる場合があること)
In this case, a retainer is used as a spy and sent out by his Commander to handle certain tasks in enemy territory. The commander will give the retainer a specific kōgai, which allows the retainer to be recognized during meetups upon his return.

COMMENT: While this sounds like something from a spy thriller, this is highly possible. Whether or not this method was truly used is a different story.

#4: Using the kōgai to scale a castle wall (塀越の時の使い方)
In the event where a castle wall needs to be scaled, one’s kōgai can be used by inserting it into the gap of the stone foundation. This way, you step on the kōgai to propel you up in order to reach the top of the castle wall. If in a group, the person most skilled at this will perform this task. When there is doubt amongst your group about how to scale the wall, suggest using the kōgai will help for reinsurance.

COMMENT: I’ve heard of steel pegs and the like being inserted into the crevice of a stone wall in order to climb up a castle back during Japan’s warring times. I wouldn’t rule out the effectiveness of a kōgai being used for such a task, although it is a pretty short implement.

#5: Using a kōgai during a night raid (戦場で夜討する時の使い方)
Your group has taken down the enemy’s fort at night, but you do not have time to claim the heads of your slain opponents. In the case where the enemy commander, or any other high-ranking warrior, was slain by your hands, then you should stab your kōgai into the eye or ear of your victim. This way, it can be verified later.

COMMENT: This is possible, as I’ve heard other examples of leaving a form of mark on slain soldiers that can later be identified as being that from a specific individual. It is also said that if the kōgai is part of your mitokoromono that has a unique motif, then there won’t be any dispute as it being yours.

#6: Using kōgai-gakure while at an inn when traveling about (旅の宿における笄隠れ)
When there is a concern about being watched while in your room at an inn, you are advised to make your room dark without actually quenching the flame from the andō (行燈), which is a paper-encased oil lantern. The trick is as followed: pass a wooden skewer stick over the flame in the lamp, while vertically placing you kōgai in front of the flame. Forming a cross formation, the light from the lamp will be blocked, giving the impression that you are going to sleep. This is the method for “kōgai-gakure”.

If your suspicions are correct, and thieves and the like sneak into your room, you can pull your kōgai away to light up the room in an instance, exposing your perpetrators.

COMMENT: Interesting tricks like this can be found in some war documents. While they sound pretty cool, in many cases they are very situational, and tend to be missing additional information.

#7: Using a kōgai as chopsticks (箸に用いる使い方)
When your group has set up camp and are about to eat, you can use your kōgai as chopsticks when proper ones are not available. You can also use the kōgai to skewer pickled items.

COMMENT: While a kōgai was generally a solid, singular metallic object, there was another version where it was 2, detachable pieces, which could then double as chopsticks. However, this 2-piece kōgai was devised, from my understanding, much later during Edo period, so it’s abit skeptical that such a version was made beforehand.

CONCLUSION

Researching old documentations on martial/military contents can be both fun and informative. However, it’s best to take the information you read with a grain of salt. Some contents are easier to verify than others, while finding unique/obscure documents doesn’t mean you’ve found a treasure trove. At the end of the day, documents like the one mentioned above make for an interesting read that can be further researched on for further verification, but nothing to announce to the world as top secret strategies you’ve miraculously discovered.

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Ōnaginata that Survived into Modern Times

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

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

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

ŌNAGINATA BY MORIMITSU

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

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

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

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

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

THE SHRINE ŌNAGINATA

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

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

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

Here’s the known specs of this ōnaginata:

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

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

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

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

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

LEGENDARY BENKEI’S ŌNAGINATA

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

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

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

  • Blade length: 106 cm
  • Maker: Munechika

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

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

ENDING

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

1) 岩をも断ち切るほどの切れ味の良さ

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

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The Art of Being Resourceful

There is something to say about being a specialist when it comes down to martial arts. Dedicating time & effort to be a master of a particular style or weapon is no small feat. Yet, we should avoid limiting ourselves as well, and explore different martial systems and disciplines as well.

Artwork by Chikanobu
Artist Yōshū Chikanobu’s artwork, entitled “Komakiyama ni Yasumasa Hideyoshi wo ou” (小牧山ニ康政秀吉ヲ追フ, Chasing Yasumasa Hideyoshi at Mt. Komaki). Here, we see a warrior to the right not only wielding a yar (spear)i, but also has a tachi (battlefield sword) slung at his side.

It is good to be exposed to many different weapons, disciplines, and the like when studying martial arts. This way, we gain knowledge to different approaches towards combat, as well as being able to perceive what others have studied themselves. In the modern times we live in, there is a greater variety of martial arts styles to choose from, whether it be Japanese, Chinese, European, Southeast Asian, and the like. For me, I’ve had the opportunity to do the same; while I’ve dedicated most of my effort in kobudō, over the years I’ve taken the time to explore the basics of karate, taekwondo, boxing, and hung gar. On a technical level, studying other systems has not only helped to appreciate the philosophy behind these different styles, but pick up unique skills and methods of movements that have made essential contributions to my overall studies that I can take with me.

Let’s narrow this down to Japanese martial arts, and how this idea of learning different styles has been important in its growth. When studying how Japanese warriors stayed active during Japan’s Sengoku period, we learn how various weapons were used on the battlefield, from swords, spears, archery, and gunnery. Depending on the time period, warriors who had the resources not only trained with them to understand how they are used, but carried a plethora of weapons in war campaigns. So, it’s not unusual to read details about archers who spent most of their effort in arrow volleys having to switch to drawing out uchigatana slung at their left hip when the opposing army has closed the distance, or a general who’s fighting with a tachi on horseback may switch to a yari which his attendant would be carrying close by.

This idea of being resourceful with multiple weapons continued throughout Edo period, to even modern times. Those who specialize in hand-to-hand systems during the 18th century also made practice to be proficient using smaller weapons concealed on their person, such as suntetsu (寸鉄, a steel bar held in a fist), kakute (角手, a ring with a small spike), and manriki gusari (萬力鎖, weighted chain), which are often categorized as kakushi buki (隠し武器). This ideology has been retained in specific traditional forms practiced today, where practitioners work on being able to switch from one weapon to another.

Defender strikes with naginata
Naginata is knocked away
Defender reaches for tantō
Opponent is bested by unexpected use of tantō
Here, the defender wielding a naginata is at a disadvantage against a skilled opponent with a katana. Discarding the naginata, the defender quickly draws a tantō and takes control of the situation once at close range.

Let’s take naginata systems as an example. There are forms where the defender, a naginata wielder, will be overwhelmed by an opponent using a katana that manages to close the distance. In response to the opponent preparing to deliver a finishing blow, the defender pulls out a tantō that is kept in the front of their obi and counters appropriately. Interestingly, there are accounts of this in documented records from Edo period where a shorter bladed weapon proved to be the equalizer in situations where their trusted longer weapon was ineffective, such as the skilled spearsman Katsuhisa Umataemon Saitō¹, and the war-hardened swordsman Tsukahara Bokuden².

In closing, martial artists should strive to be as skilled as can be, especially with disciplines we truly favor. However, we must not be closed-minded to other disciplines, for studying & adapting multiple skills can help keep us open-minded, and enhance us even further.

1) This experience changed Umataemon’s views on long weapons. This was covered on this blog, which can be read here.

2) Bokuden spoke about his, as well as other adventures during his time. This can be read in the following post on this blog here.

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Unique Swords with the Finest Edge

In a previous set of articles, brave acts with the Japanese spear were covered, as well as a few famous ones that still exist today¹. These examples illustrate the importance this weapon had in Japanese history. The same can be said about the Japanese sword, with a great amount of stories especially coming forth during the Edo period; these are often painted as an essential tool part of the arsenal of warriors during the Sengoku period, as well as being the symbol of the samurai class during the Edo period. Many of the tales concerning swords even touch on levels one would deem supernatural.

For this article, we’ll look at 3 unique stories that tell about amazing feats done with the Japanese sword. Each story has an interesting point to illustrate, which ranges from the greatness of the wielder to the sword itself being nothing short of mystical. As amazing the feat is, keep in mind that they shouldn’t be taken literally.

STORY #1: YAGYŪ AND THE DIVIDED STONE

There is a legendary story that comes from the Ama-no-Iwatate Shrine (天石立神社, Ama-no-Iwatate Jinja) in Nara prefecture, which is home to a very large stone on its property. Measuring at about 26 feet long, 22 feet wide, and 6 feet & 1/2 high, this stone is fabled as the very one used by the Sun Goddess Amaterasu to seal herself in a cave. Today, it is a critical center piece behind the founding of Ama-no-Iwatate Shrine. However, the story we will be reviewing isn’t about the shrine’s origin, but concerns one of the more renown swordsmen during Edo period, whose name is Yagyū Muneyoshi (柳生宗厳).

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

A seasoned warrior on the battlefield during Japan’s warring years, Muneyoshi is the founder of Shinkage ryū (柳生新陰流) during the Edo period, a popular martial system that specialized in combat with the Japanese sword, which many still practice today. Well, it just so happens that the large stone of Ama-no-Iwatate Shrine also plays a significant role in how Muneyoshi founded his style.

There was a time Muneyoshi went on a training journey to further improve his sword skills. For this, he went to Ama-no-Iwatate Shrine and stayed there for awhile. One day, when he was training on the grounds of the shrine, a tengu (天狗, a long-nosed goblin with wings) suddenly appeared, as if challenging the warrior. Muneyoshi fought fiercely with the tengu, as they both went back and forth with blows. Channeling his intention, Muneyoshi swiftly delivered a downward finishing cut that the Tengu couldn’t stop, cleaving him in half. In the next moment, Muneyoshi’s opponent disappeared, and was replaced by the large stone that was originally sitting not too far from him while he was training. He was so intent on victory, that his blade was able to cut through stone.

Pic of Ittōseki. From Photo-AC.com

The large stone would later be called “Ittōseki” (一刀石, stone divided by a single sword swing) once an account of Muneyoshi’s feat was learned. It’s perfectly split from top to bottom at an angle, which would take an enormous amount of brute strength to achieve. The point to take from this tale is that near impossible feats can be achieved through sheer intention, where one is harmoniously in tune entirely on 3 levels: physical, mental, and spiritual.

STORY #2: A BLESSED SWORD AND A WINE BARREL

This next story concerns the Mijima Shrine in Izu, located in Ooshima (eastern part of present-day Tokyo). Ittō Ittōsai (伊東一刀斎), the pioneer of the martial system known as “Ittō ryū” (一刀流), was residing there in his youth during a time when he wanted to learn kenjutsu. After a period of self-training through determination, the shrine’s head priest was moved, and decided to pass on a sword named Ichimonji (一文字) to the youth. This would be the 1st sword that Ittōsai would receive so he could begin to learn kenjutsu properly. Ichimonji was not only fabled to have a fine edge, it helped its young owner develop a skill that is quite a feat.

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

Before he became a renown swordsman, Ittōsai was described as a youth who had much potential in kenjutsu. The head priest acknowledged this as he convinced the youth to head on a journey to find a competent swordsmaster, which he agreed to fund. On the day he received Ichimonji, the sword was blessed with ceremonial rice wine, and passed on to him without proper fittings². Late in the night, right before his trip, Ittōsai heard commotions in the shrine, and learned that it was being looted by a gang of thieves. Unsheathing the sword which only had a wooden handle, he charged at the thieves. Despite them being armed and outnumbering him, the thieves fell to his sword one-by-one, as he displayed great handling. The last thief retreated to a room where wooded barrels used to store blessed rice wine are kept, and hid in an empty one hoping to escape later unseen. Ittōsai gave chase and, upon entering the room, was able to perceive where the thief was hiding. In one swift motion, he rushed at the barrel and cleaved through the barrel, which not only collapsed in two, the thief inside also fell along with it, severed from his torso down.

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

This remarkable feat of cleaving both the wine barrel and the thief would years later serve as a secret technique taught to his highest student, which would be called “dō-giri” (胴斬り)³.

STORY #3: THE DEMON-SLAYING SWORD

This tale involves Hōjō Tokimasa, a figure hailing from the illustrious Hōjō clan. Originally a military commander serving in the army of Minamoto no Yoritomo, Tokimasa became the 1st authority figure of the established military-ruled Bakumatsu during the early Kamakura period.

An ukiyoe of Hōjō Tokimasa. From Wikipedia.

After the establishment of Kamakura Bakufu, Tokimasa went through a period of being plagued by tormenting nightmares, which all involved the appearance of a demon. One night, he went to sleep in his chambers as normal, with his sword next to him. He proceeded to go through another round of nightmares, which made him agitated. As he turned on his bed, his right arm bumped into his sword, which then fell ontop of him. Suddenly, as if willed by a power not of his own, Tokimasa subconsciously drew this sword and swung it, instinctively cutting at the demon within his dreams. His sword instead cut off one of the legs from a table which a hibachi (火鉢, small heating pot) sits on. The exasperated Tokimasa woke up surprised at the scene around him. As he examined the damage done to the table, he noticed that the part of the table leg that was accidentally cut off had the carving of a demon on it. Suspecting that this was the cause of his nightmares, Tokimasa had this part discarded, and from then on, was able to have peaceful nights of pleasant sleep.

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

This sword of Tokimasa was actually named “Onimaru-kunitsuna” (鬼丸国綱). Known as one of 5 legendary swords in Japanese history, it is distinguished as being a “reitō” (霊刀), or “spirit sword”. This means the unique trait the the Onimaru-kunitsuna bear was the ability to cut things on a spiritual level. Since the small table was cursed by the carving of a demon, this sword was able to “will” its owner to severe the menace at its roots.

ENDING

This concludes our coverage on stories concerning feats with Japanese swords. These tales were definitely penned to stir the imagination, illustrating famous figures and renown swords in a light of glory. While taking these types of stories as fact is abit difficult, one thing for certain is they are entertaining.

1) These articles can be read here and here.

2) A sword prepared for use would have what is called koshirae (拵), which includes a proper sword handle covered with shark skin and cotton wrap, a sword guard, and adorned with metal pieces. Since the Ichimonji was place at the shrine for safe keeping, it was prepped in shirasaya (白鞘), which consisted of a simple wooden sword handle, and housed in a non-lacquered sheath.

3) There is an article that talks on the general use of this term, which can be read here.

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Evaluating Manuscripts of Takeda Army Strategist Yamamoto Kansuke

There are countless examples of old military manuals and martial arts-related scrolls that have survived to present times. Containing important information regarding combative (and sometimes non-combative) topics, they are usually provided to those privy to the knowledge, or copied by said information with permission to do so. That being said, there can be multiple versions from one source, with each having either slight differences, to not resembling each other at all. There are reasons for this, many which can be deducted to when it was written, who wrote the document in question, who the person was that received it, to whom the audience was. One example of this is the many documents that are stated to come from Yamamoto Kansuke, the famed military strategist during the 16th century.

For today’s article, two types of manuscripts will be presented that fit this topic. Both stated to come from Yamamoto as a singular source, they’ll be examined in terms of content, as well compared to evaluate their similarities and differences.

SPECIFICS OF ORIGIN

Yamamoto Kansuke is an individual highly debated amongst researchers and scholars alike. This stems from topics such as validity of his existence to authenticity of various manuscripts that helped structured the Takeda force and associated groups. When looking at these manuscripts, many are signed by him, or reference him for his impeccable knowledge. Let’s look at two that I have in my immediate collection, which are “Heihō Hidensho” (兵法秘伝書) and “Gunpō Hyōhōki” (軍法兵法記), and look into their background info.

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

First up will be the Heihō Hidensho. This was one of select works that are said to come from Yamamoto Kansuke’s knowledge on combat. Going by the date of 1701 as when it was written, it would eventually be compiled together with many other documents into a collection in remembrance of the Takeda clan and their rule over Kai (present-day Yamanashi prefecture) during medieval Japan. This collection is called “Kai Sōsho” (甲斐叢書), and has been reproduced on numerous occasions as a large volume of historical reference books from the 1800s to the 1900s by individuals like Hirose Hirokazu (廣瀬廣一), and the group “Kai Sōsho Kankoukai” (甲斐叢書刊行会). The manuscript Heihō Hidensho is located in the 9th volume of the Kai Sōsho.

For this article, the book “Yamamoto Kansuke “Heihō Hidensho””, published by the company Keibunsha, will be the resource used. It not only shares the same name, contains the entire manuscript have been retained. While one can say its source material is dated, this reproduction can be seen as fairly modern, mainly because the original text has been slightly modified to make it easier to read & understand, while still retaining its old Japanese feel. The modifications primarily relate to updating older kanji not part of the standardized Japanese language. There are more unspecified updates/edits in this book version, which will be spoken upon later in this article.

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

The 2nd resource, “Gunpō Hyōhōki”, is claimed to have been written by Yamamoto upon the order by his lord & ruler of Kai, Takeda Shingen, for the sake of his army. This particular manuscript is dated 1546, and is signed to a Nagasaka Chōkansai¹ by    the strategist himself, which can be determined by the signatures in the manuscript. This resource was drafted into 4 parts.  One of these parts is called “Kenjutsu no Maki”, which is considered invaluable and possibly a glimpse at what the legendary Kyō ryū² may be based on.

In the book “Zusetsu – Kobudōshi”, there is a section dedicated to Yamamoto Kansuke that includes the Gunpō Hyōhōki to its entirety. This is reproduced in this book as-is in the form of photos from the original source. Note that the original source does exist in a book form, which can be accessed at certain libraries in Japan. Visually, it appears to be an authentic document, as it follows the format of similar documents produced in the 16th century. This includes type of speech, and using a cursive writing style, which proves to be a challenge to read. There are lots of text with the context focusing on kenjutsu

COMPARING THE LAYOUT

To get a clearer picture on the similarities and differences between these two documents, we will look at the contents on military combat, particularly from the Heihō Hidensho’s “Mokuroku” section, and Gunpō Hyōhōki’s “Kenjutsu no maki” section. These are much easier to analyze, even if we don’t look at the particulars in the techniques, as well as being accompanied with pictures. Here’s a partial look at their table of contents:

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

Heihō Hidensho: Mokuroku

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

Gunpō Hyōhōki Kenjutsu no maki

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

At a glance, there are similarities between each book. For example, both put a great emphasis on sword fighting. Although it is not shown above, Heihō Hidensho’s section called “Kenpō” (Method of sword fighting) has its own table of content that, if listed, would require its own separate article, while everything else can be covered together in another article. In comparison to the Gunpō Hyōhōki, the contents on sword fighting is similar as it has many teachings that focus on using the sword against another fighter with a sword, while there are also lessons on using longer weapons against each other, and a small quip on archery. Interestingly, there is a focus on using a sword against different types of foes. Here are some pics for comparison, starting with those from the Heihō Hidensho on the top row, and Gunpō Hyōhōki on the bottom row:

From another angle, Heihō Hidensho has a dedicated section on hand-to-hand combat called “Kenpō” (拳法), which focuses on using restraining techniques such as grappling and strikes against  an opponent while wearing one’s swords sheathed on the side, and whether the opponent attempts to draw their sword or not. For the Gunpō Hyōhōki, it appears that there is no conversation on this. However, it does have several sections that cover this topic, which are “Torite no koto” (捕手の事),  and “Jūjutsu-ate no koto” (柔術当ての事).  Unfortunately, both are not accompanied with pictures, but instead are coupled with long explanations on the topic. If anything, the Torite no koto section does mention about the possibility of iai techniques during torite, so this could be compared with Heihō Hidensho. For the most part, both manuscripts use this idea of hand-to-hand techniques as more supplemental to kenjutsu.

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

EMPHASIS ON KENJUTSU TECHNIQUES

As mentioned before, great importance is placed on kenjutsu in both documents. The direction both go with discussing the strategies while using the sword is through postures that signify an attitude or state of mind. The terms to indicate these in Japanese vary depending on the source. For instance, the word “kamae” is a common term for this. In the Heihō Hidensho the term “kensei” is another version, while  “kurai” can be found in the Gunpō Hyōhōki. One thing to understand when interpreting these is that these postures, despite which label is used, are not static stances. Instead, they represent strategic points of movement in response to the situation against the enemy.

First, let’s review a list of select techniques in the form of kamae from Heihō Hidensho:

  • Hira jōgo kensei (平上後剣勢)
  • Migi jōgo kensei / Hassō (右上後剣勢)
  • Hira ue musubi mae kensei / Takanami (平上結前剣勢・高波)
  • Hidari ue musubi Mae kensei / Jōdan no Kasumi (左上結前剣勢・上段の霞)
  • Hidari ue mae kensei / Kissaki Oyobi (左上前剣勢・切先及び)
  • Hira ue mae kensei / Tōhō (平上前剣勢・当法)
  • Migi naka musubi Mae kensei / Chūdan no Kasumi (右中結前剣勢・中段の霞)
  • Hidari naka mae kensei / Yoko Seigan (左中前剣勢・横青眼)
  • Migi shita ushiro kensei / Sha (右下後剣勢・車)
  • Migi shita musubi mae kensei (右下結前剣勢)

Each of these kamae are listed on their own page, as there are thorough explanations and examples on how they can be utilized against an opponent. The name for each one is more descriptive in terms of how they are assumed, although some of them do have alternate, unique names that are expresses a concept of imagery, which are used in different martial arts schools. At their core, they are variations of kamae that most practitioners of kenjutsu, kendō, gekiken, and the like should be familiar with. For example, from left to right:

Hidari ue musubi mae kensei
Hidari naka mae kensei
Hidari shita musubi ato kensei

Hidari ue musubi mae kensei = Kasumi (jōdan)

Hidari naka mae kensei = Seigan (chūdan)

Hidari shita musubi ato kensei = Waki (gedan)⁴

For each kamae are explanations on how they can be utilized based on the enemy’s actions. The defender’s response isn’t as strict in terms of the counter attack, which makes things a little open-ended for interpretation. For example:

Hira jōgo kensei


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

TRANS: The opponent takes the initiative and attempts to strike. Carefully watch when the opponent’s sword comes at you, then turn your body sideways with your left leg forward, pull your right leg back, and cut their right hand.

While this paints a rather clear picture in terms of movement using the attacker-defender model, it is also open-ended, for the type of the attack from the opponent is not specified, while the defender’s (us) initial position is not stated. This is pretty much how the techniques play out in this document, making it a supplemental source to any kenjutsu-focused martial arts school that can be studied upon.

Now, we turn our attention to Gunpō Hyōhōki, and look at some of the techniques mentioned:

  • Jōdan (2 types)
  • Chūdan (2 Types)
  • Gedan (2 types)
  • Denkō no kurai (電光の位)
  • Kasumi no kurai (霞の位)
  • Seigan no kurai (清眼の位)
  • Suigetsu no kurai (水月の位)
  • Yōgan (陽眼)
  • Ingan (陰眼)
  • Murakumo (村雲)
  • Yamatsuki (山月)
  • Nyūin no kurai (入引の位)

For this section, it starts off explaining the importance on 3 height levels while wielding the sword. They are the following:

Jō-chū-gedan kamae no Tachi

  • Jōdan (上段) = Upper stance
  • Chūdan (中段) Middle stance
  • Gedan (下段) = Lower stance

In almost all styles of kenjutsu and its modern equivalents, the idea of 3 height levels is a common principle. Illustrations show 2 ways of doing these, generally with one having the sword held in front, and the other with the sword held behind. This is abit different from what is shown in Heihō Hidensho, as there is not a great number of kamae where the sword is held behind. In the pictures provided, lengthy descriptions for these kamae and how to apply them is given based on one’s opponent’s actions. Each of the kamae are labeled according to their height level along with a unique name.

Let’s look at the following example below:

Jōdan – Denkō no kurai

This is the posture on the right. As a small explanation, in response to an enemy’s attack, the defender brings the sword above the head to the right, and strikes from overhead.

Take note that the picture sequences are not necessarily correlating with each other, especially in the later parts of the document. Each kamae, side-by-side, is significant in the Gunpō Hyōhōki; what’s important is the descriptions next to them. In a way, it’s a concise format to present lessons without using a step-by-step method.

The relation between the two documents is that Heihō Hidensho also follows the 3 height levels as specified in Gunpō Hyōhōki. Not only that, it follows the same order starting with high level postures, mid-level postures, then ending with low-level postures.

ANALYSIS

At first glance, when reading the particulars for these, it’s quite normal to think that both manuscripts are authentic & have been kept intact in terms of their original writing. This is certainly not the case for the Heihō Hidensho for a number of reasons which will be explained. As for the Gunpō Hyōhōki, this has a greater probability due to its appearance and contents, for much of the points on combat are done in a conversational manner that is not directly clear unless the reader has initiative knowledge in said topic, as opposed to very detailed, step-by-step descriptions that almost anyone can grasp. Take note that while this fits as what may be expected out of an older manuscript, just how much of it is 100% authentic as the lessons of Yamamoto, and isn’t a product of forgery, is hard to determine.

For the Heihō Hidensho, there are many points to pick up that indicate it’s not the original work. For starters, the original version, which would’ve been handwritten, is not available for view. Instead, we have a reproduction in print type of it in collection of other documents. It is mentioned to be reproduced several times, which most likely includes edits to suit the times, such as the kenjutsu kamae being compared to other unmentioned martial systems by presenting alternate names. Possibly the biggest clue is how the actual contents read; the way combat was approached was vastly different in Sengoku period in comparison to Edo period, and the way Heihō Hidensho reads coincide with the latter. For example, the hand-to-hand techniques demonstrated in it deals with situations in plain clothing and swords sheathed, which was a growing trend during martial artists during mid-to-late Edo period that were focusing more on jūjutsu and iaijutsu. Furthermore, the illustrations for the kenjutsu are not only similar to the style of specific artists during Edo period, but other pictures such as the ones used to illustrate staff techniques are not Japanese at all.

Finally, we look at the connection between both documents. Considering that they come from the same source, one can deduce that they were drafted around the same time period. Of course, this cannot hold up as an argument, since whereas Gunpō Hyōhōki looks to be a more authentic that was kept intact, we only see the typed version of Heihō Hidensho, which is a reproduction of said original source. This is even true when looking at the version in the Kai Sōsho. Despite presentation, if we compare the contents and acknowledge the similarities, (i.e. focus on kenjutsu, scenarios in which strategies for kenjutsu can be applied, etc.) what can be said about the differences? Let’s look at two points that can be considered.

  1. Information may differ based on the person whom was receiving the manuscript – Depending on a person’s rank, or even affiliation, there are cases where one individual would get more clearer notes, while a person may get less. It can be argued that those were highly-ranked group leaders would’ve received a much more detailed documentation, as it would be necessary when training their team. However, for someone who may have been a specialist may receive a more concise version that skims the surface, which could’ve just been enough for that individual.
  2. Manuscript may have been reproduced several times with edits – It is not uncommon that certain contents change and/or get updated by those who own it. This is true for both private documents, those passed on & used in martial arts schools, and those made for public viewing.

If we take Heihō Hidensho and consider it the same as the Gunpō Hyōhōki, then it’s possible it went through much edits and updates. This isn’t a bad thing, for if you think about it, combative knowledge should apply to the current times in order to stay viable⁵. With this in mind, it’s possible that the original lessons of Yamamoto Kansuke are maintained, but altered abit (or alot) so that it could still be applied in a society that still depended on the sword during Edo period.

CONCLUSION

It is great that there are documents written centuries ago that have been preserved for today’s generation. There are those that give credit to Yamamoto Kansuke, whether stated to have been penned by him or copied with permission. Unfortunately, researchers are faced with the task of validating the legitimacy of these, which tends to be difficult especially for those from Japan, as there’s a high chance they were produced during the peaceful times of Edo period by writers who try to pass them off as much older works. This brings our look at old manuscripts to a close. Hope everyone found this as an informative, and interesting, topic to read.

1) 長坂長閑斎. Historians believe him to be Nagasaka Torafusa (長坂 虎房), who was a retainer of Takeda clan of Kai.

2) 京流. This is one of 8 legendary sword systems that make up the collective group called Kyōhachi ryū. This was discussed in an article on this blog here.

3) This section may have been an add-on, after the development of firearms improved.

4) In this manuscript, there is no alternative name for this posture. However, I added the label here for this article due to it, from my personal experience, resembling the commonly used Waki no kamae, but done on the left side.

5) This same case was brought up for kyūjutsu (archery techniques) during Edo period, which was covered in an article on this blog here.

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Fame to the Spear ~ Part 2: Tenka Sanmeisō

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

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

NIHONGŌ, THE IMPERIAL SPEAR

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

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

Here are its known dimensions:

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

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

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

Artwork of Mori Tomonobu. From Wikipedia.

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

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

OTEGINE, THE MALLET SPEAR

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

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

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

Here are its known dimensions:

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

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

An example of a tapering mallet. From Wikipedia.

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

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

TONBOKIRI, THE DRAGONFLY SLAYER

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

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

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

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

It features the following known dimensions:

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

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

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

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

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

THREE FAMOUS SPEARS: FUN FACTS

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

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

General

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

Nihongō

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

Otegine

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

Tonbokiri

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

CONCLUSION

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

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

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

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

4) The descriptions come from Lifehacker Analyzer website.

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

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Fame to the Spear ~ Part 1: Shichihon Yari

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

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

SHIZUGATAKE SHICHIHON YARI

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

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

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

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

These seven warriors are the following:

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

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

DETAILS ON THE BATTLEFIELD

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

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

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

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

LEARNING THROUGH ARTWORK

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

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

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

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

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

OTHER SHICHIHON YARI

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

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

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

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

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

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

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

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

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

ENDING

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

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

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

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“Dō” and its Influence on Kenjutsu Terminology

Recently I had a conversation with a fellow colleague who specializes in Japanese history about fighting between armored warriors during the late 1500s of Sengoku period. We discussed about how techniques like “dō giri” can be performed despite how much protection Japanese armor provided during that time. For those new to this, dō giri means “cutting the torso”. It is made up with the following kanji (漢字, Chinese-derived characters):

  • dō (胴) = Body, torso
  • giri (斬り/切り) = cutting, slashing

Like other kanji, dō has other uses, which gives different nuances to its core definition. For this article, We’ll look at the historical use of dō and similar words in the relations of armor, how they work in conjunction with kenjutsu. Also, we’ll touch upon the use of the word dō giri outside of the battlefield and how it became a specialty term in society.

THE ROLE OF ARMOR

The generation where Japanese warriors engaging on the battlefield decked in armor has long passed. Yet, its influence can still be seen today. Both classical and modern Japanese martial arts still make reference to Japanese armor in different ways. In the case of classical systems, those that have a history that dates back before or during Edo period (1603 ~ 1868) tend to possess many poetic naming schemes for techniques. Some of these also include armor references. This is in the form of specific parts of armor representing areas of the body. The most common ones include the following:

  • Dō = 胴
  • Kote = 籠手
  • Men / Menpō = 面 / 面類

As mentioned before, dō stands for the upper body. In the case of armor, the same kanji is used for naming the chestplate of the armor, which usually provides protection from slightly under the collarbone down to the stomach. The kote is the gauntlet, which covers the back of the forearms. Men, or also known as menpō , is a half face mask that generally covers the nose down to the chin. As armor parts designed to provide adequate protection to important areas while on the battlefield, it is interesting to note that these are also prioritized target areas in many martial systems, especially kenjutsu styles that were further developed during Edo period. Those who are initiated into the specifics about these in their respected systems understand how to approach these.

Pic of a suit of Japanese armor, which features ① do (chestplate), ② men (facemask), and ③ kote (gauntlet). From the book “Art of the Samurai: Japanese arms and Armor, 1156-1868”.

ANSWERING THE “WHY?”

Looking into these aforementioned three parts of armor, it’s interesting to note that they can repel otherwise life-threatening weapon impacts. When you really think about it, why would would armor parts be used to reference areas to attack in kenjutsu? Should it not be the opposite, where words that clearly depict what you are striking at be used instead?

One possible answer to this is looking at the period when martial systems were under development. During the Edo period from mid 1600s onward, society was moving away from raising warriors for war to becoming more business/career-minded. Martial artists focused more on opening training halls where locals and/or certain individuals from elite samurai families could train at. This required a structured approach to teaching large numbers of students, yet still making sure that the contents could not be easily stolen by outsiders. One approach was using non-general words as labels for techniques.

Non-general words ranged from terms related to Shinto, Buddhism, nature, animals, specialty occupations, to even armor parts. These non-general words were like a code, where if you weren’t taught what they meant or what they referred to according the the martial system, then a person couldn’t figure out how to do the techniques. This was especially effective for keeping the contents secret in the event a scroll was ever lost. So, in the case where dō (chestplate) is used, only those students who are taught the particulars behind the usage of this word will understand why this variation was chosen than than the common dō (torso).

Another layer of secrecy was to use different kanji to represent these non-general words. This was against those who were literate and had martial arts experience. Let’s take a look at the word kote, which normally stands for gauntlet. There are a few ways to write this in kanji, such as the following:

  • 籠手
  • 篭手
  • 甲手

Which one is used can be dependent on which region in Japan you’re situated in. So, you may use one of those three ways to refer to gauntlet that is understood in a group far out in the east, yet not familiar at all to another group that resides in the south.

To go even further would be to use kanji that creates an obscured word. In the case of kote, using the kanji “小手” was an Edo-derived variant which, to the unlearned, would not be easily deciphered as referring to gauntlet. Or, to omit the use of kanji and instead write the name in kana (仮名, phonetic Japanese script), such as こて or コテ. One more layer of protection would be to teach the specifics verbally, but have students identify them with numbers in their physical notes. This is common practice in some schools that give out mokuroku (目録, listing of techniques), which is effective in case it ever gets lost or stolen.

Modern martial arts have adopted the use of using these three terms for armor parts, which is especially noticeable in kendō. A sports-oriented martial art that incorporates bōgu (防具, protective gear) that include a men (面), dō (胴), kote (小手). They still serve as protection against the stinging strikes from the shinai (竹刀, bamboo sword) used in competitions, but also double as the targeted areas one can score a point through clean hits.

OTHER ADAPTATIONS

As Japan’s society headed towards peace & prosperity from the Edo period onward, dō and its significance in kenjutsu found further adaptions outside of the battlefield. Let’s refer back to the term “dō giri”, which can be viewed as a prime example. At some point, dō giri became a coin term for cutting things perfectly in half. This can be found in literature that involves legendary martial artists whose kenjutsu were unparalleled, or near-miraculous feats with swords that belonged to important historical figures. One popular tale involves the famous swordsman Ittō Ittōsai (伊東一刀斎) who was active during the late 1500s to early 1600s. It’s told that during his youth, Ittōsai not only defeated a group of thieves attempting to steal from a shrine he was staying in, but expertly sliced in half one of the thieves who had hidden in a barrel used for ritual practices.

A depiction of suemonogiri, performed on a still living criminal. From Wikipedia.

Outside of literature, the word dō giri became a means to measure how sharp a sword was, like a counter. This was an old practice called tameshigiri (様斬り). Different from the tameshigiri (試し斬り) where one develops their sword skills by cutting rolled tatami mats, which is popularly practiced by many kenjutsu schools around the world, there was a practice of tameshigiri that involved cutting the dead bodies (in some cases also live bodies) of criminals. Around the 1500s, bladed weapons like swords and spears were commissioned for sharpness testing to a magistrate who would take the role of a tameshimono (様者). The bodies of criminals who were sentenced to death were kept, which where the magistrate can later perform tameshigiri. A version of this was suemonogiri (据え物斬り), where one to several dead bodies were piled on a mound of dirt, and the magistrate would attempt to slice through the torso(s) in one shot. Depending on how many that were successfully cut through would determine the grade for the sword. If only one body was divided, then it would be a hitotsu-dō (一ツ胴), while three bodies would be mitsu-dō (ミツ胴). The highest grade recorded is seven bodies, which is nanatsu-dō (七ツ胴).

The practice of tameshigiri continued into Edo period, where the Tokugawa bakufu commissioned skilled swordsmen to test specially crafted swords. This was not only done on dead bodies, but at times for executing live criminals. This would extend further from just dividing the torso in one stroke, but rating how well a sword would cut through other parts of the body, such as the neck and the leg. The performance of these swords would then be recorded on the nakago (中子, tang) of the sword. Renown individuals to perform as otameshi goyō (御様御用, distinguished test cutters) for the Tokugawa bakufu come from the Yamada family, where each generation adopted the title “Asaemon”.

CONCLUSION

Understanding history behind words can give a clear glimpse on how they influence the changes in society over the generations. This is true for dō (胴), which has its own unique development in different walks of life. Stay tuned for more of this, as there will be a future post that covers many of the famous depiction of the word “dō giri” from Japanese literature.