The image of kōryu bujutsu, or traditional martial arts, is a collection of systems predating Edo period that are exclusive, with each bearing unique, signature methodology and techniques. While there’s some truth to this, the reality is that many of them were born from preceeding systems, so there will be some level of universal skills. This becomes even more apparent once Japan is unified under the Tokugawa shogunate, where there was more accessibility to studying multiple styles, cultural exchange between complying schools took place, and competitive meets between different schools became increasingly the norm. At some point, before the 1900s, most martial systems had a level of shared knowledge, with a separation through each respected schools’ methodology, approach, and history.
Recently I reviewed a post-Edo documentation that supports this movement. Bearing an unusually long title of “Enden ryū yari naginata, Sekiguchi ryū iai, Hōen ryū Heihō, dōryū iai, dōryū bō” (圓傳流鎗長刀 關口流居合 方圓流兵法 同流居合 同流棒), it’s a listing of specific techniques from Japanese martial systems that have become a standard of sorts as of 1841, which is the same date it was written. One can view this as a development according to the more social-bureacratic structure, where martial arts was interjected into society steadily in a form of recreation, giving it a purpose on a business level. This document covers certain techniques from a specific number of disciplines, including kenjutsu, sōjutsu, iai, and bōjutsu. What piqued my interest the most was the bōjutsu section, since there’s a great number of schools that have a bōjutsu curriculum, it’ll be fun to piece their similarities..
The the left, the cover of the documentation. To the right, the listing of standard bō techniques, found on page 13.
Today I want to go over this short list of techniques for bōjutsu that are pointed to as being standardized techniques. One of the challenges here includes understanding the technique listed by the name; while many systems may share the same technique by application on a fundamental level, it is not uncommon for the technique to bear different names.
Jōdan (上段)
While this is a common term for something that is high, as an upper stance or high strike, there are no details explaining which one is being referred to. So we will refer to jōdan uchi (上段打ち), jōdan uke (上段受け), and jōdan no kamae (上段の構え).
A demonstration of jōdan uchi
Jōdan uchi is simply a high strike, which all bōjutsu styles have as a standard. There are different ways to executing this based on one’s posture, technique, and situation. Jōdan uke shares many similarities in terms of mechanics, and is applied in a similar motion.
An example of jōdan no kamae
The posture jōdan no kamae has a portion of the bō held above head height. Of course, this can vary greatly between schools based on appearance, philosophy, and application. This doesn’t include the myriad of variations that accompany this posture. What holds true, however, is the fact that all schools have a jōdan no kamae, even if it is not named this¹.
Gedan (下段)
Just like jōdan, gedan (下段) is a common name for something that is low or down. In martial arts, it is used to distinguish low attacks and blocks, as well as lower postures. Gedan uchi (下段打ち) is a strike generally aimed at a low target, such as the legs. There are very few variations to this, making it a simple technique to execute from any posture. Gedan uke (下段受け), or lower block, shares a similar motion.
Examples of gedan no kamae
Looking at the posture gedan no kamae (下段の構え), this is an emphasis of one end, or the entirety, of the bō low close to the ground. Different variations have the portion held close to the ground either position in front or behind. Since this is a standard posture, there are schools that stick with the name as-is, but it’s not uncommon for other names to be used.
Koshi guruma (腰車)
This is a technique where the bō is held near or behind the hip, and is then swung in a large, sweeping arc. A rather large attack, it is also very strong. While in some instructions the targeting area may be mentioned being the opponent’s chest or hip, realisitically it can target just about anywhere.
Demonstration of a version of koshi guruma in motion
Koshi guruma is not posture-specific, but instead emphasizes utilizing the bō attached to the hip. Of course, this opens the door for some postures to transition into this much easier than others, including those where the back end of the bō is held lower to the ground, or the bō is whirled from behind the back.
Kasa no shita (笠下)
The name kasa no shita literally translates to “under the umbrella”. The bō is held horizontal around shoulder level , either from the front or behind. From my experience, this is a technique that tends to deal with a attack from underneath in a raising manner, or swung to the front in a sweeping manner if held from
Demonstration of a version of kasa no uchi in motion
From my understanding, there is right or wrong when comparing kasa no shita being done from the front or behind, as both are situational. Of course, certain systems my emphasize one over the other according to their methodology.
Mizuhiki (水引)
This technique is an interesting one. While some other modern references mention about it being a common one for many bojutsu systems, it’s a name I’ve not seen much of, nor is the name itself assuming. Visually I am able to discern this as a standard technique that can be found in many schools, whether as a focused one within a kata or just a stand-alone one.
Demonstration of a version of mizuhiki in motion
Mizuhiki involves the bō aimmed upwards from a crouching position, attacking the opponent’s hands from below. Looking beyond the idea of technique, Mizuhiki represents the strategy of being able to use the bō from a crouching position. One may find themselves needing to swing their bō from a low position whether intentionally or through circumstance.
Kurai (位)
The term kurai refers to manipulating the bō based on the situation. This means one wields it dynamically. In some ways, it is like assuming a kamae. This is an older label that hints more on strategic use of positions and how they directly influence the way of holding the bō.
As an example, if you are facing off against an opponent on a hill and you have the high ground, it would be more natural to take up a gedan no kamae where the bō is held in the front, so to attack & control the opposition much easier. On the opposite side of the coin, if you are on the lower part of the hill, then there is a higher probability that seigan no kamae will be the more effective posture.
Since the concept of kurai is so open-ended based on how each bōjutsu system’s methodolgy is structured, there are no set postures to represent this.
While small and concise, this document can contribute as research material to understanding the development of Japanese martial arts during the 1800s when paired with other sources. Of course it is not perfect, as this is from one person’s (or group of people) perspective, while we do not get any info as to why these techniques are chosen as being standard amongst most bōjutsu systems. Still, this gives some food for thought for those who want to compare the similarities and differences between Japanese martial systems.
1) It was common practice to conceal aspects of one’s style in the past. Sometimes this included naming a technique in an inconspicuous way, making it difficult to know what it is unless demonstrated and explained in person. While sharing of information between martial arts schools is much more abundant in modern times, there are still some styles today that uphold a level of secrecy.
Here is the 5th part of the ongoing series on the Tenga Goken, or the 5 great swords of Japan. Each of these swords has a unique trait that defines its existence as a masterpiece in its own respect. In the case of the Dōjigiri Yasutsuna (童子切安綱), it is not only deemed as the oldest sword, but its beginnings come literally straight out of a fairytale.
Let’s take a look at its details:
A pic of the Dōjigiri Yasutsuna on display. From Wikipedia.
Status: national treasure
Maker: Yasutsuna
Blade length: 80 cm
Blade curvature: 2.7 cm
Blade base width: 2.9 cm
Blade tip width: 1.9 cm
Length of back of blade: 3.1 cm
There is a great amount of documentation for it over the centuries. Much of these are related to inventory reports, and various accounts by owners and their associates. Others are story-like accounts related to the sword, with some more believable than others. This high documentation is in thanks to the Dōjigiri always in the possession of some high profile groups, along with a few sword enthusiasts. Today, it is in the care of Tokyo National Museum, as it is part of their National Institutes for Cultural Heritage collection.
For this article, we’ll cover more of the relevant recordings, along with some noteworthy ones that play into the theme of the Tenga Goken.
YASUTSUNA
The swordsmith name on the sword’s tang is “Yasutsuna” (安綱). This points to Ōhara Yasutsuna, who was active in Hōki country (present-day western part of Tottori prefecture) during the early Heian period from 806 to 810. This area was known to be rich in pure iron sand, which was essential material for sword crafting. The style of crafting of the Dojigiri also matches with the Heian period, such as the curvature of the blade. With these strong evidences, it is estimated as the oldest sword out of the Tenga Goken.
Surviving records such as Chōkyō Meizukushi (長享銘尽) point to Aimi county in Hōki country as where he was living. On paper, Yasutsuna is considered as one of Japan’s most recognized swordsmith from far ancient times.
YORIMITSU VS SHUTEN DŌJI
A drawing of Minamoto no Yorimitsu, from the 10-volume artwork collection “Zenken Kojitsu” (前賢故実), from the Edehon Database. By Kikuchi Yōsai.
The Dōjigiri’s existence is introduced to the world through a popular tale about Minamoto no Yorimitsu (源頼光) and his bravery. Hailing from the famous Minamoto line, Yorimitsu was, according to surviving records, a real person who lived from 948 from 1021. Curiously, the tales about him and his companions include mythical and superstitious events, which is not uncommon considering the times. There is one particular event where Yorimitsu must play the hero as he was tasked to slay a notorious demon, which is where the Dōjigiri comes into the picture. Here’s a synopsis of how that story goes.
In in they year of 995, the Imperial court tasked Minamoto no Yorimitsu (源頼光) with pacifying a gang of demons lead by a mighty ogre called Shuten Dōji. These criminals have done many heinous acts, including kidnapped women from villages to be eaten later. Yorimitsu set out with 4 of his most trusted retainers dubbed Shitennō (四天王, 4 Heavenly Kings)¹, and traveled the demons’ lair, which was on Mount Daie in Tanba country (present-day area between Kyōto and Hyōgo prefecture).
A woodblock called “Yorimitsu-chōshin Shuten Dōji wo taiji no zu” (頼光朝臣酒呑童子ォ退治之図), featuring Yorimitsu and the Shitennō engaging with the notorious demon gang. This scene includes Shuten Dōji tied with chains while Yorimitsu beheads him, but in a fit the head takes flight and attacks Yorimitsu. By Katsukawa Shuntei.
On their way, they met 3 wise men who gave them items that would aid in defeating the demons. This included a special wine called “shinbenki dokushu” (神便鬼毒酒), which was interpreted as a “divinely conceived poisonous wine for demons”, yet had healing properties for humans². Disguising themselves as mountain ascetics, Yorimitsu and his team were able to deceive the demons in order to gain entry into their lair, and as a thanks to their hospitality, entertained their hosts through dance and wine. After drinking the wine, Shuten Dōji and his gang fell asleep from its neutralizing effects. Seizing the chance, Yorimitsu drew his concealed sword and beheaded Shuten Dōji, while the rest of his team fought off and slew the other demons. Taking the demon leader’s head as a trophy, and freeing the captives, Yorimitsu & his crew returned back to the Imperial court in the Capital³ where they received many honors.
It’s from this episode where the name “Dōjigiri” comes from.
Minamoto no Yorimitsu is recorded as a historical figure who truly did exist. Was the journey he embarked on real? Was Shuten Dōji an actual demon? There are many layers to this story, and the other versions that mirror it, which would need its own article to properly analyze it.
As for Dōjigiri, because it comes from the lore of being sharp enough to behead a mighty demon, is where it gets its name. As an heirloom of the Minamoto clan, it makes sense that Yorimitsu would gain possession of it. Yet, how and from whom the Minamoto family acquired this sword is not explained.
POSSESSION OF THE MATSUDAIRA FAMILY
After Yorimitsu, the Dōjigiri is passed into the the hands of several high profile individuals, with the first being the Ashikaga family. There is no clear explanation on how this happened, but estimated time is between late 900s to early 1000s. As an elite military family with status through the Imperial court, the Ashikaga family added the Dōjigiri to their growing collection of valuable treasures, and it would remain there for a few centuries even after their family claimed shogunate in the early-mid 1300s.
In the late 1500s the 15th shogun Ashikaga Yoshiaki gave the sword to Toyotomi Hideyoshi. A superstitious man, Hideyoshi was not pleased to keep a sword with such a history⁴. So he passed it to the Honami family for safe keeping. It’s possible that from this point the Dōjigiri was evaluated, and the name of the swordsmith was discovered. At a later date, Hideyoshi then parted with the sword as he gave it to Tokugawa Ieyasu. After becoming shogun and establishing total control over Japan, Ieyasu gave the Dōjigiri to his son, Hidetada.
An artwrk of Matsudaira Tadanao. From Wikipedia.
On a celebratory day in November of 1611, Hidetada’s daughter Katsuhime was be-wedded to Matsudaira Tadanao, a lord of Kita-no-Sho Domain in Echizen country. Hidetada gave the Dōjigiri to Tadanao as a gift in honor of their family’s unity; while the Tokugawa name was reputable at this point, the same can be said for the Matsudaira mainly due to their long established line, as well as historical connection with the Tokugawa line. The latter saw tremendous benefits, for once the Tokugawa Shogunate was established, this gave opportunities for the Matsudaira families to be positioned as lords over numerous lands. While Tadanao was bringing his land in Echizen country into this unison, Katsuhime’s family was bringing their Takada domain, which was located in Echigo country⁵.
After relinquishing his duties due to old age and retiring into priesthood⁶, Tadanao had his 8-year old son, Mitsunaga, in line to take over the the Kita-no-Sho domain. When he came of age, Mitsunaga would instead became lord of the Takada domain in Echigo country due to political issues. From this point, the Dōjigiri, along with other treasured items of his father, would be left to him.
The Dōjigiri remained as a Matsudaira treasure for several centuries, up until modern time⁷. There were a few cases where it passed into other hands, due to land ownership issues. During those cases, where it was on the land that was up for redistribution, the Dōjigiri ended up on the assets assessment lists drafted up. This made this particular sword well documented, and easily tracked. In 1933, it was appointed as a national treasure by the Ministry of Education (文部省, Monbushō) under the old system. It was also present in the Yūshūkan Sword Exhibition in 1940.
THE PRICE OF BIG SPENDING AND DEBT
Starting around the early 1940s, the Dōjigiri finally leaves the possession of the Matsudaira family, as it would get caught in a power struggle by those willing to pay a hefty price for it. This first went into motion as a Nakajima Kiyoichi had his eyes set on purchasing the Dōjigiri from the Matsudaira family. He made a request to Ishigurō Kuro, a renown sword dealer from Ishikawa prefecture, to see if he could buy it straight from the prestigious owners. At the time, Kuro made attempts, initially purchasing 2 different swords. It wouldn’t be until 1946 when he was finally successful in securing the Dōjigiri, paying ¥80,000⁸ for it. When Kuro reached out to his client to come and buy the sword from him, it seemed as if the deal was gonna go sour, for Kiyoichi didn’t have the money for it.
Reaching out to the Honami family for help, Kiyoichi used their connections to find a business man name Tamari Sannosuke, who was willing to lend money. Sannosuke paid Kuro ¥100,000 for the Dōjigiri. Having such an exclusive sword, Sannosuke relieved the flustered client from being in his debt by offering to take care of the sword. While in his possession, the Dōjigiri was re-evaluated and once again appointed as a national treasure under the new system.
In the mid 1900s, the Dōjigiri was associated to large sums of money, as individuals invested a great amount to get their hands on it. From Photo-AC.
Some drama would unfold a little later, where Sannosuke’s business went bankrupt. He made several attempts to borrow money using the sword, including transferring the sword to a Mr. Murayama for safe keeping and financial support. In 1950, a sword enthusiast named Watanabe Saburō heard about this and contacted Mr. Murayama, as he was willing to pay ¥500,000 as a lending fee, in which Sannosuke agreed. However, several months later into the new year of 1951, Saburō passed away. Sannosuke, who felt that their deal was void due to the death, reached out to the Watanabe family to send back the money and have the Dōjigiri returned to him. As this didn’t go as smoothly as anticipated, both sides would have to try and resolve the matter in court, which spanned for almost a decade.
In 1963, a resolution to end the fight over ownership for the Dōjigiri was made by a member from the Bunkazai Hogoiinkai (文化財保護委員会, National Commission for Protection of Cultural Properties), who would buy the sword completely by paying a hefty price of ¥26,300,000. This amount was split at a specific rate between ¥20,000,000 for Sannosuke, and ¥6,000,000 for the Watanabe family.
With the Dōjigiri in the possession of the Bunkazai Hogoiinkai, it was free from the bidding wars of sword enthusiasts. It was eventually donated to the Tokyo National Museum, where it can be put up on display in exhibits for the public to see.
FUN FACTS
As mentioned earlier, there is an abundant amount of writings on the Dōjigiri, some more interesting than others. While this sword has had its fair share of territorial and ownership disputes, there are a good amount of stories claiming unusual events. Then there are those that are heresay, and can be viewed as baseless rumors or fantasy. Below are a select few that give different perspectives in which how this special sword was interacted with.
1. MORE THAN ONE DEMON-SLAYING SWORD?
As with most old stories from Japan’s ancient times, there are different versions to the famed story of Minamoto no Yorimitsu and his quest to quell Shuten Dōji. The differences vary, from the names used to identify certain individuals, the appearances of certain individuals, to certain details included to give more wilder context (i.e Shuten Dōji’s flying head after decapitation). Fortunately, all these versions share the core parts, which includes Yorimitsu, his loyal followers, Shuten Dōji and his gang at their layer, and the wine that weakened Shuten Dōji enough where Yorimitsu was able to behead him with a sword.
An artwork entitled ” Ichijo Modori bashi no atari nite Higegirimaru no tachi wo motte Ibaraki Dōji no ude wo kiru” (一條戻り橋の邉にて髭切丸の太刀を以茨鬼童子の腕を斬). Watanabe no Tsuna is shown about to cut off the arm of Ibaraki Dōji as they engage in a struggle on the Ichijo Modori bridge. By Utagawa Kuniyoshi.
These differences also affect the representation of Dōjigiri, for while it sounds like this was the key item to Yorimitsu’s victory, there tends to be mentioned of 2 other swords, which are the Onigiri (鬼切) and Higegiri (髭切). Depending on the source, Dōjigiri may be omitted and replaced by one of these 2 other swords, or they appear in the same story but used to fulfill a different task. Here’s an explanation about these other 2 swords:
Onigiri – It’s name can be interpreted as, for the sake of popularity, “Demon-Slayer”. However, its full title is stated as either “Onigirimaru” (鬼切丸) or “Onigiri Yasutsuna” (鬼切安綱). It is argued that the Onigiri is another sword in Yorimitsu’s possession, an heirloom of sorts passed down his family line. In few sources the name “Onigiri” is stated as the sword used to slay Shuten Dōji. Or, that the Dōjigiri’s name was changed to “Onigiri” after the task was done. However, neither are correct. In reality, this sword exists in its own respect, as it is kept as a valuable cultural treasure at the shrine Kitano Tenmangu in Kyōto. Furthermore, the maker’s name on the sword tang is supposedly Yasutsuna, meaning that it and the Dōjigiri are siblings, so to speak.
Despite its existence, there are some oddities surrounding it, leading to questions including the legitimacy as a Yasutsuna-crafted sword. On another note, this is the same sword as the Higegiri. More on this below.
Higegiri – Its name translating as “Whisker-Splitter”, this is another sword that was wielded for the sake of pacifying demons. Origin is that it was a treasured sword of the Minamoto clan, and got its name when it was used to behead a criminal, cutting clean not only through the neck, but the hairs from his beard as well. After their task of ridding Shuten Dōji and his gang, Minamoto no Yorimitsu lent this sword to his retainer Watanabe no Tsuna (渡辺綱) as he went to investigate some troubles in the Capital. As he headed there on horseback, he encountered a woman in distress at a bridge called “Ichijo Modori” (一条通り). Watanabe gave her a hand and lifted her up to sit behind him on his horse, when moments later she transformed into a demon known as Ibaraki Dōji (茨木童子) and grabbed the warrior. A sworn brother of Shuten Dōji, he had escaped from Mt. Daie when Yorimitsu and his retainers terminated his brethrens, and was now attempting to get revenge. Drawing the Higegiri out quickly, Watanabe seized the demon’s right arm, and cut upwards, slicing the arm clean off. After this episode, its name was changed to “Onigiri”.
This sword still exists, as mentioned above, for it is at the shrine Kitano Tenmangu in Kyōto, where it is kept as a cultural treasure. Since the Higegiri is the same sword as the Onigiri, it shares the same discrepancies, as there are questions regarding the legitimacy of its story and other details.
2. OUTRANKING MASAMUNE
Towards the ending of the 1600s, the Matsudaira family who owned Tsuyama Domain in Sakushu (present-day northern part of Okayama Prefecture) gained possession of the Dōjigiri. They also owned 2 other high-quality swords, one was “Inabagō” (稲葉郷) and the other was “Ishida Masamune” (石田正宗).
A pic of the Ishida Masamune on display. From Wikipedia.
All three swords are expertly crafted and high quality. The Ishida Masamune also has an impressive backstory, especially as it is one from the famed Masamune line known for its unrivaled sharpness. Yet, when a member of the Honami family had a chance to evaluate both swords, the Dōjiri was judged to be the better sword.
3. GUARDIAN FOXES
By lore and superstition, there are creatures used as messengers of the gods known as shinshi (神使) in Japan. These creatures existed for the sake of serving or protecting things that are special one way or the other. They are said to take the form of common animals, reptiles, and amphibians, with one of the more popular one being a fox.
There is another tale from Tsuyama Domain’s Matsudaira family, which is said to take place around the same time as the one previously mentioned above. One day, the Dōjigiri was sent out to be delivered for evaluation to Honami Saburobei’s home in Hirokouji, Ueno (an area in present-day Tokyo). While crossing the Sujikai Bridge (筋違橋) on the way to Saburobei’s home, it is said that there were foxes that came out and approached the individual with the Dōjigiri. There was no interaction with the foxes, just their sudden appearance and their momentary company down the same road, until they finally made their way towards a path to Yanaka in Ueno.
The take from this story is that these foxes acted as shinshi, and came to assist in guiding the Dōjigiri safely to its destination.
4. KATSUHIME’S SAYAGAKI
Starting around the late 1500s was a practice called “sayagaki” (鞘書き) through the permission of Toyotomi Hideyoshi, with the particulars including a person writing on the shirasaya of a reputable sword that is generally placed in storage. Swords that will not be used, or to help preserve during the humid summer, have their normal fittings taken off, and are placed in a simple wooden sheath with an equal simple wooden sword handle. A peculiar practice, it allowed details about the sword to be written on the sheath without the need to draw it out.
An example of sayagaki.
In 1623, the Dōjigiri was stored in shirasaya while it, along with other properties, was under the ownership of Katsuhime until her son was old enough to inherit them. There was sayagaki on the sheath of the Dōjigiri, and it is thought to have been done by Katsuhime herself, based on the writing style at that time.
This is what was written on the shirasaya of the Dojigiri:
JAPANESE: 表 童子切貳尺六寸五分 裏 鎺元ニテ壹寸横手下ニテ六分半重子厚サ貳分
ENGLISH: Front: Dōjigiri, measuring at 2 shaku 6 sun 5 bu Back: There is a hole measuring 1 sun at the base of the habaki (鎺, metal collar between the sword and the hand guard), 6 1/2 bu line below the yokote (横手, line on the side of the blade between the tipe and the cutting edge), with a thickness of 2 bu
There is a description about these lines and how it is judged to be written by a woman, most likely Katsuhime. However, I am not sure who made this judgement.
5. EAST VS WEST
Within Asian culture there is a rather unique labeling of 2 things that are considered equal in strength and quality. Influenced by the ying-yang theory, these 2 things stand side-by-side and represent balance, even if both objects are rivals or mortal enemies.
Amongst sword enthusiasts, there is a statement that declares both the Dōjigiri and another sword called Ōkanehira (大包平) as equals. The line goes as follows:
“日本刀の東西の両横綱”
This translates to “Japan’s best 2 swords from the East and the West”. The East-West comparison is due to the fact that the Dōjigiri was crafted in Hōki country, which is located in western Japan, while the Ōkanehira was made in Bizen country⁹, located in eastern Japan. Looking at the history of the Ōkanehira, it was made during the late Heian period by an individual known as “Kanehira”, who belonged to the swordsmith group called “Ko-Bizen” (古備前). Like the Dōjigiri, the style of the Ōkanehira is stated as exquisite, as it has unique qualities matching the era it was crafted.
The reasoning behind this assertion points to how old both swords are estimated to be, for they have survived centuries up until present day.
6. CUTTING TEST
Sometime around the ending of the 1600s during the Edo period, the sharpness of the Dōjigiri was put to the test. While the sword was still in the possession of the Matsudaira family of Tsuyama Domain, there was a request to test just how strong it was. This event was set up as a “tameshigiri”, or “test cutting”, where an attempt would be made to cut through as many human bodies with the Dōjigiri in one swing. Not an unusual practice, tameshigiri was a means to evaluate the cutting power of swords of all types, and rate them by the number of targets they are able to cleave through…with the targets being close to or being exactly that of the human body. In the case of the Dōjigiri, the dead bodies of criminals were used.
A reputable swordsman within the area by the name of Machida Chōdayū (町田長太夫), who was a renown expert at tameshigiri, was given the task of testing this legendary sword’s sharpness. At its finest moment, Chōdayuu was able to completely slice through not only 6 dead bodies in one motion while wielding the Dōjigiri, but also split in half the mat the bodies were laid on.
ENDING
A great deal was shared about the Dōjigiri and it reputation as a special sword both in application, design, and value. All of this documentation and events are what elevate it to a high-profile sword. That covers everything worth mentioning about the Dōjigiri Yasutsuna, illustrating why it is categorized as one of the Tenga Goken. Be on the look out for the last article in this series, which will be on the Odenta Mitsuyo.
1) While Shitennō literally means “4 Heavenly Kings”, in most cases it is a label reserved to 4 very strong & talented individuals. Think of it as 4 pillars to an establishment or group. For Yorimitsu’s group, these 4 individuals were Watanabe no Tsuna (渡辺綱), Sakata no Kintoki (坂田金時), Usui Sadamitsu (碓井貞光), and Urabe Suetake (卜部季武). The other nickname commonly used is “Raikō Shitennō” (頼光四天王), with “Raiko” being the onyomi (音読み, Chinese-phonetic) reading of “Yorimitsu”, which was an old practice usually done in honor of someone important or famous.
2) When drank by humans, the pronunciation of the name of this sake is the same, but instead uses the kanji “神変奇特酒” . This version of the name reads something like “mysteriously special wine of the Gods “.
3) Actually, Yorimitsu was not able to bring Shuten Dōji’s head back to the Imperial court, as it became “heavy” and unyielding on the way. This was forewarned while they passed through an area on the outskirts of the Capital that had a koyasu jizō (子安地蔵, statue of Jizō the guardian of childbirth) on the path, which warned them that no one was allowed to bring unclean things into the Capital city. It is thought that the guardian deity there caused this to protect the citizens, since Shuten Dōji was festered with germs, and it was highly possible his head would bring illnesses.
Having no other options, Yorimitsu dug up a tomb for the severed head, which would years later become the grounds for the shrine called Kubizuka Daimyōjin (首塚大明神). Consisting of a simple torii (gate), grave, and an altar, it is a small shrine where, through worshiping Shuten Dōji as a deity, all ailments the severed head was carrying has been lifted…at least, according to lore.
4) The same happened to the Onimaru Kunitsuna, which can be read here.
5) Katsuhime (勝姫) was more than a filler in the Tokugawa lineage; unlike many other women who have remained nameless, she is identified by her real name. This is due to her involvement in familial matters, which included land management and issues. Katsuhime is known under different titles during her lifetime, including the honorific title Takada-sama (高田様, Madame Takada), and her Buddhist name Tensuin (天崇院).
6) Life expectancy was low around this time, so it was not unusual for people to retire from their profession around their 40s or 50s.
7) To elaborate a little, it primarily remains in the possession of the Matsudaira from Tsuyama domain from 1698 up until modern times. Mitsunaga of the Matsudaira line from Echigo domain had a relatively long and intricately difficult time in his later years dealing with land ownership disputes with the Tokugawa Shogunate, which detracts too much with this article’s topic to go over. This also included losing ownership of treasured items temporarily, with the Dōjigiri being one of those possessions. These issues were eventually resolved while he was still alive, and he later had certain possessions, including the Dōjigiri, passed into the safe keeping of the Tsuyama-Matsudaira family line in a formal manner.
8) This, and all money values that follow are reported in Japanese yen, but not at present day’s rate. Note that there was not an official exchange rate of yen to US dollars from around the mid 1940s to to early 1950s. This is primarily due to Japan’s lack of a unified currency system in society as a whole, as well as that yen was not yet part of the Bretton Woods system regarding affiliated global exchange rates. This would slowly change starting around around 1952.
Due to the lack of currency value structure for the Japanese yen at the time when the Dōjigiri was being purchased, attempts at a dollar to yen conversion will fluctuate abit, leading to possible (but not guaranteed) estimates. As a starter, the conversion rate between the mid 1940s to early 1950s would look something like $1 = ¥350 ~ ¥400.
9) This is based on the following inscription engraved on the sword, “備前国包平作” (Bizen no kuni Kanehira saku). This translates as “made by Kanehira of Bizen country”
The next sword from the Tenga Goken will be the Juzumaru Tsunesugu (数珠恒次). This time around, we go in a different direction in terms of how Japanese swords are viewed both physically and in application. Going the opposite direction of them being used for killing by warriors, we will explore the idea of how a sword like the Juzumaru Tsunesugu played a symbolic role in Buddhist practices. Before going over its history, let’s first review its specifications.
A snapshot of Juzumaru Tsunetsugu without any fittings or handle, from the site “Touken World“.
Status: valuable cultural asset
Blade length: 82.1 cm
Curvature: 3.0 cm
Width (base): 4.0 cm
Width (tip): 2.0 cm
Maker: Aoe Tsunetsugu
An interesting point worth taking note of is that the Juzumaru Tsunetsugu’s status is that of a cultural piece, as opposed to a national treasure. This is because, while being an intangible piece of history with traceable history, it is neither in the possession of a national establishment nor part of an Imperial collection. Due to this, proper validation cannot be done on its authenticity. Still, its stated existence is accepted as being important on a cultural level, which isn’t an unusual thing as many historical items around Japan can be deemed as invaluable objects, yet stay in the hands of those outside of government-funded organizations and Imperial property.
Juzumaru Tsunetsugu exists today as part of the collection of artifacts at the temple Honkōji, where it can be viewed by visitors around the world.
BEGINNINGS
The Juzumaru Tsunetsugu was crafted by a swordsmith who’s addressed as “Aoe Tsunetsugu” (青江常次). Like many others in the same profession, Tsunetsugu’s surname is unknown. Instead, he is identified by where he comes from, which was Aoe in Bitchu Province (present day Kurashiki City, Okayama Prefecture). He was a member of the Aoe group of swordsmiths, which was started by his father, Aoe Moritsugu. Taking a quick look at the Aoe group timeline, Moritsugu and his group were active from the ending of Heian period to the early term of Kamakura period (1100s ~ 1200s), where Tsunetsugu, being the 2nd son out of 3 children, took over after his father at some point. To further bolster up his resume, Tsunetsugu was commissioned as the sole blacksmith by the Imperial palace to craft swords during 82nd Imperial successor Emperor Gotoba’s reign…but this should be taken with a grain of salt, as there were other blacksmiths who were utilized by the Imperial court as well.
After being brought to life by Tsunetsugu, the Juzumaru Tsunetsugu, or Juzumaru for short, was the property of the Buddhist temple Kuonji throughout most of its documented history. Its tie-in with Buddhism is key to the name “Juzumaru”, which there are are 2 symbolic meanings behind this. The first is the idea that “juzumaru” stands for the salvation of people from suffering, which is connected to the practice of the Buddhist sect Nichiren. The 2nd deals with the sword’s design, as at one point its handle was adorned with jewels in the likeliness of prayer beads, which are called “juzu” in Japanese¹.
ORIGINS THROUGH NICHIREN
Sources regarding the Juzumaru vary abit, but lead to the same point as to being part of the Tenga Goken due its splendor in craftsmanship. One particular source, known as “Shōchuu Tōken Meibutsuchō” (詳註刀剣名物帳), recounts its origin through the life of Nichiren, which goes as follow:
To the left, a statue honoring Nichiren, while to the right is “Founder’s Hall” (祖師堂, Soshidō), one of the buildings of Kuonji where Nichiren is worshiped.
In the past, many travelers feared traversing the paths that lead through the woods and mountains, as it was common knowledge that bandits laid in wait around those areas. Despite this, the saint Nichiren² planned to set off by himself to explore Mt. Minobu in Kai Country (present day Yamanashi Prefecture) during the early 13th century. Despite arguments from loyalists to dissuade such a dangerous journey, Nichiren would not listen. In order to ensure his safety, a sword from a country warrior living around the southern part at the base of the mountain was given to him. Nichiren accepted the sword and, before ascending Mt. Minobu, wrapped prayer beads around the sword handle, symbolically to ward off ill fortune.
Like a miracle, Nichiren was able to climb up and explore the mountain danger-free. Furthermore, it is said that there was enough supplies within the surroundings on the mountain where he could devise a thatch hut as a place for slumber and to protect him from the elements. After some time, the temple Kuonji, which would become the grounds of the Nichiren sect, was established on Mt. Minobu. It is also written that the sword Nichiren brought with him during his journey was later examined by Honami Kōhō, one of the descendants of the family-run sword evaluation who was also a devout of Nichiren teachings. He was able to identify it as the product of Aoe Tsunetsugu, a renown swordsmith. With that, this sword gained the name “Juzumaru”, and became a symbolic, treasured item of Kuonji temple and an asset to Buddhism.
More or less, this tale summarizes Juzumaru and its ties to Nichiren’s establishment of his own Buddhist sect. It is considered to be one of 3 keepsake relics of Nichiren after his death, with the other 2 being a his robe and a ceremonial folding fan. Being a Buddhist sword, it’s no surprise that it was not used for physical combat. Further evidence of this is the sword wasn’t even sharpened, but instead it’s edge was dull. This does open up some questions, such as the original purpose of the sword itself. Was it meant for self defense through fighting off bandits in the mountain through mortal combat? Since Nichiren wasn’t a warrior himself, it would go against the social caste during those times to arm a priest with a live sword. Maybe the idea of “self defense” was more of a sword that acted like a ward against ill fortune, thus the reason why the Juzumaru wasn’t sharpened.
Still, let it be known that an unsharpened sword is not unusual. In the past, along with arming warriors with sharp swords, it was not uncommon for swordsmiths to also make ceremonial swords that were unsharpened for non-combative purposes. Symbolically they “eliminated” ill fortune or evil spirits by “cutting” them down in order to ensure life proceeds correctly in the name of justice. Such a concept stems from Buddhism, which is defined by the phrase “hajakenshō” (破邪顕正).
BENEFACTOR OF THE JEWELED HILT #1
As mentioned before, “juzu” means prayer beads. It can also stand for jeweled beads, for beads made out of fine jewel stones represented great value and status in Japanese culture of old. Outside of the abridged “base” story of how Nichiren obtained the sword Juzumaru, there are other sources that can fill the blanks regarding Nichiren’s life up until the establishment of Kuonji temple. However, when it comes to this sword with its unique jeweled hilt, there are fewer sources to turn to. To be specific, there are 2 different versions that give their own take on who contributed to Juzumaru earning its name through the adornment of jewels on the handle. Here’s the 1st version.
There was a supporter, a benefactor of sorts who was Hakii Saburo Sanenaga (波木井三郎実長)³, a notable nobleman of the Imperial Court. A land owner within Kai Country, he became a follower of Buddhist teachings through Nichiren’s preaching around Kamakura. He was a strong supporter of his Buddhist teacher, from the start of his ascent up Mt. Minobu, to the establishment of Kuonji temple. Sanenaga continued to contribute to Kuonji temple after Nichiren’s death, which includes having the Juzumaru adorned with jeweled beads on the hilt.
A example of prayer beads, which is the likeliness the jewels fitted on Juzumaru’s sword handle was described to be. From Photo-AC.
Sanenaga appears to have been greatly involved in both Buddhism and the development of Kuonji temple per what is mentioned in remaining documentations. Thus, this version is considered factual for the most part. One can look at his involvement in having jewels adorned on Juzumaru’s sword handle a parallel to when Nichiren wrapped prayer beads around the sword handle during his journey. Along with it having an unsharpened edge, this majestic look of jewels in the form of prayer beads fit with the ideologies of Buddhism, thus adding to Juzumaru’s supernatural status, as well as netting it the nickname “Hajakenshō no ken” (破邪顕正の剣).
BENEFACTOR OF THE JEWELED HILT #2
There’s another take on a different individual who may have contributed to Juzumaru’s jeweled hilt it’s famous for. This second claim is through Hōjō Yagenta (北条弥源太), a warrior from a related branch of the Hōjō clan. The source of this information comes from personal writings by Yagenta known as ”Zenaku Nitō Gosho” (善悪二刀御書).
Living in Kamakura, he was one of many followers of the Buddhism teachings of Nichiren. When Nichiren declared his departure from Kamakura and going into isolation, Yagenta provided him with a daisho (大小), which is a long sword & short sword set, 3 months before his journey up Mt. Minobu. These swords were no simple items for mere self-defense, but were specially crafted to aid Nichiren in warding evil spirits which were to be (ritually) slain by these blessed blades. As one would guess, the long sword is said to be Juzumaru.
There is a little more to this version, which comes in the form of details pertaining to sword descriptions of this long-short sword pair. This description is taken from a documentation called “Fuji Daisekiji Meishoshi” (富士大石寺明細誌), which pertains records from a Buddhist temple Daisekiji in Shizuoka Prefecture. The sword descriptions (both original Japanese and my English transliteration) go as follow:
A digital version of ”Fuji Daisekiji Meishoshi”, with the sword descriptions presented in the red box. This can be viewed on the following website here.
JAPANESE ① 太刀 三条小鍛冶宗近作 二尺一寸 一腰 蓮祖の所持諸弘通の節之レを帯す、北条弥源太殿より之レを献ず
② 劔 久国作 九寸五分 一口 蓮祖弘通の節笈中に入る
ENGLISH 1) Long sword / Crafted by Sanjō Kokaji Munechika / 2 shaku 1 sun / single sword⁴ From Hōjō Yagenta, this was given to the saintly Nichiren, who wore this at his hip during his journey to where he would find his new home
2) Sword (short) / Crafted by Hisaku / 9 sun 5bu / single blade⁵ A sword part of the sacred items carried during Nichiren’s journey
There are a few points to unravel to get a clearer narrative. The 1st description is interpreted as Juzumaru being crafted by the famous Sanjō Munechika, while 2nd description speaks of the paired short sword being crafted by Hisaku from the Awataguchi clan. Hisaku was of a line of swordsmiths that predates Munechika, but they were apparently good friends⁶. On top of that, it is said that they were commissioned as official blacksmiths by Emperor Gotoba during his reign. Hōjō Yagenta, being a supporter of Nichiren, was made aware of his Buddhist teacher’s intended journey, and supposedly made preparations by commissioning a long sword be made for him by Munechika. As an extra, Hisaku also crafted a short sword, most likely from the same material. Yagenta was able to present this long and short sword set to Nichiren 3 months before the journey.
It’s safe to say that this story varies differently from the first version mentioned earlier, which raises many puzzling questions. The 1st point of concern is by whom hands Juzumaru was created by. Most sources state that Aoe Tsunetsugu is recorded as swordsmith who crafted Juzumaru, as his name can be verified to be on the tang of this same sword. Why the inconsistency here? Sanjō Munechika can be considered to have more claim to his name than Tsunetsugu, so attaching Juzumaru to him would play into the splendor of this sword. Could it be that in documenting the sword descriptions that the smith’s name was interpreted incorrectly? Or, if a sword by Munechika commissioned by Yagenta truly did exist⁷, it is possible that it was completely different from that made by Tsunetsugu. Maybe this “other” sword is mistakenly thought to be the Juzumaru. It is also a possibility for someone like Nichiren to have had several swords made for him as a form of protection on his journey up Mt. Minobu. The question here is would he have carried with him this multitude of swords? Most likely not, unless he had company to assist with such load.
The 2nd point of concern is Juzumaru being part of a long & short sword set, with a short sword crafted in the same liking as it. There are no records or surviving evidence that it was accompanied by a shorter sword…at least one by Tsunetsugu. While the idea of another great swordsmith like Hisaku crafting a pairing short sword to the Juzumaru does sound cool, it literally gets no mention outside of this version of the story. On top of this, there are no traces of this short sword, for it has yet to have been discovered.
Taking all of these aforementioned points into consideration, the consensus is that this long-short sword pair from Yagenta does not fit with the general take on Juzumaru’s origin, if the details themselves are factual at all. On one hand, this long & short sword set may have been completely different, but mistaken to be that of the legendary sword. It’s also possible that Nichiren was gifted with these swords, but didn’t take it with him on his journey? On the other hand, the entry about the sword details in the aforementioned documentation from Daisekiji temple doesn’t mention the name of the long sword, so blame should not be shifted here, but from any other sources that points to it being the one & only Juzumaru.
OTHER ADORNMENTS
Along with the jeweled hilt that resembles prayer beads, Juzumaru is described to have also been decorated with quality fittings. Early in this article, it was mentioned that the sword evaluator Honami Kōhō had examined this sword and judged its value. There is a document called “Kyōhō Meibutsucho” (享保名物帳), a record of antiquated swords, that mentions Kōhō also donated fine quality sword fittings, which were labeled as “Kōhō monozuki no koshirae” (光甫物数寄の拵). Apparently, these consisted of metallic components with a motif of renge (蓮華, lotus flowers) etched on them. The choice of renge, or lotus flowers, is most likely due to the deep connection this flower has with Buddhism, as well as the Lotus sutra recited in the Nichiren sect. It is also noted that Kōhō had donated these sword fittings sometime in the 1600s of early Edo period, which was centuries after the Juzumaru was crafted.
The section from the 1857 edition of “Kyōhō Meibutsucho”. The words “Juzumaru” and “Kōhō monozuki no koshirae” are highlighed by red lines as reference.
While Juzumaru is described as a well-adorned sword, these descriptions are only found on paper. Unfortunately, much of the adornment that were claimed to once have decorated this sword are currently not on the actual sword. This includes the prayer beads and the jewels fitted on the sword handle. The reasoning can be viewed from a couple of angles, the most suitable one is that these adornments were stolen. It’s highly possible that they were removed from Juzumaru for personal gain, which could include netting a high price to those who would buy them. Why would anyone want to purchase adornments that belong to a legendary sword like the Juzumaru? The simplest answer is that most people never heard of this sword, let alone have seen it unless they’ve made a trip to Kuonji temple, so any prospective buyer wouldn’t know the source of the fittings.
Another question would be as to when and how these adornments were removed from Juzumaru. While there are no solid answers to this, the following below will put this all into perspective.
FATE OF THE JUZUMARU
Stories about this legendary sword indicate that it’s synonymous with the Kuonji temple for centuries since Nichiren set out on his journey. However, an unusual incident happened where the Juzumaru was nowhere to be found sometime in the early 1700s; at a time, scholars and researchers alike could only go based on the writings about it, which painted a picture that it once existed. Why was it no longer at Kuonji temple? Was it stolen, or sold to support the temple? This point is still unknown⁸.
In 1919, a notable sword researcher named Sugihara Shōzō (杉原祥造) from Amagasaki city in Hyōgo prefecture, traveled around Japan studying the many swords that have survived, as well a purchasing those that were of antiquated value. One day, he discovered the Juzumaru at an auction house in his hometown, where items of aristocratic and nobility were sold to the highest bidder. Shōzō bought it and put notice to this discovery, as it was then reported in newspapers. What happens next is quite interesting, for he headed to Honkōji, the nearest Nichiren-sect temple in his hometown, and donated the sword there for safe keeping.
A picture of Juzumaru present-day, with no sword fittings, on display at Honkōji temple. This is from Amagasaki City website.
Why not return the Juzumaru to its original home at Kuonji? Speculations include that Shōzō had conflicting thoughts regarding Kuonji actually having possession of this particular sword in the first place, or if it was a fabrication all along. What was most important to him was to return this sacred relic to the rightful environment it belonged to, which was that of a Buddhist temple.
About a year later, Juzumaru was declared a former national treasure by Japan’s Ministry of Education and Culture under the following description:
Japanese
丙種 刀劍 太刀 銘恒次（数珠丸） 一口 兵庫県尼崎市別所村 本興寺
English
3rd class / sword Long sword / sword name Tsunetsugu (Juzumaru) / single blade Honkōji / located in a forest in Amagasaki city, Hyōgo Prefecture
in 1950, it would once again be re-evaluated by the Agency of Cultural Affairs, and be declared its new status as it now viewed as an important cultural property⁹.
ENDING
We come to a close on this treasured sword called Juzumaru Tsunetsugu. While it may never had tasted the impact of another sword on any of Japan’s numerous battlefields, the tales of it protecting a saint as a ward on his journey to establish his own Buddhist temple, as well as symbolically aided in the rituals performed there is the support that elevates this sword to the high recognition it holds now. Stay tuned for part five of the Tenga Goken series, which will feature the next sword known as Dōjigiri Yasutsuna.
1) While a minor topic, there has been a small debate in regards to this sword’s naming convention. While popular choice of kanji combination found in documents is “数珠”, there appears to be some that use “球数” instead. While both essentially mean the same thing, which is prayer beads, the former is the proper name, while the latter usually relates to the number count of the beads. It’s also not certain if the pronunciation would stay the same or switch to “suju” if the latter was the proper name. At the end of the day, the former, along with “juzu” is what sticks.
2) Saint Nichiren (日蓮上人, Nichiren Jōnin) can also be read as “priest Nichiren”, as he was a Buddhist priest. He was an actual person who was a scholar of Mahayana Buddhism, then declared his own version based on the same teachings, especially on the Lotus sutra. His climb up Mt. Minobu was actually due to self exile, for Nichiren faced many hardships (including imprisonments and banishment) for the sake of spreading Buddhist teachings, followed by depreciation by the government even after proving his teachings are of great value to the whole of Japan due to coincidental predictions of foreign invasion.
3) Also known by the saint name “Hakii Nanbu” (波木井南部).
4) The term “hitokoshi” (一腰) is another counter used for swords. This one is unique, as it identifies a sword that is slung at the hip, which is normal practice by warriors alike. Since this is a specialized counter, note that any swords not slung at the hip would most likely be identified by a different counter.
5) Just like hitokoshi, the term “hitokuchi” (一口) is another unique term not just for swords, but for bladed objects as a whole. In this case, a sword with a particular pattern along the blade near the edge identified as a kiriguchi (切り口) are referenced by this counter.
6) The two swordsmiths had a good relationship probably because they come from the same area in Japan, which was Yamashiro Country at the time. This area is now presently known as the southern area in Kyōto.
7) There was a police report of this “other” sword being stolen at night from a storage house (guessing at Kuonji temple?) in June of 1940. Apparently the lock was smashed and various valuable items, including this sword, were taken. However, there are some oddities to this claim, the main one being it was disclosed later to the police that this sword, along with other like items, was noticed to have been missing since April of the same year. Not much is known with this case afterwards.
8) Interestingly, there are a couple of documentations that mention the Juzumaru being relocated outside Kuonji temple for safe keeping at a time. However, in these cases this supposedly happened much earlier before the sword’s inevitable disappearance in the early 1700s. On top of this, those documentations are considered to be like diary entries, so they cannot be viewed as factual, especially since such records are also not found in Kuonji temple.
9) The page where the Juzumaru is listed on the Agency of Cultural Affairs can be found here.
The second sword we are looking at from the famed Tenga Goken is the Mikazuki Munechika (三日月宗近). This sword has a history of passing through the hands of elite families, all the way up to modern times. Let’s take a look at the specifics:
Images of the Mikazuki Munechika (blade only, top) and its saya (scabbard, bottom). From Wikipedia.
Status: national treasure
Blade length: around 78.2 cm
Curvature: 2.7 cm
Width: 2.9 cm
Wrapping: tachi-style with (silk?) thread-wrapped handle, paired with a scabbard
Maker: Sanjō Munechika
Unlike the Onimaru Kunitsuna, there is more info on the Mikazuki’s construction, from the number of mekugiana (holes for rivets on a sword hilt) in its tang, to the type of threads and brass that adorns its handle. Due to how detailed the descriptions are about its features, the Mikazuki Munechika is considered the most lavishly adorned out of the Tenga Goken. As a national treasure, it is currently being kept at the Tokyo Kokuritsu Senbutsukan (Tokyo National Museum).
Specific info regarding the origins of the Mikazuki Munechika come from a 1488 old record called “Chōkyō Meizukuri” (長享銘尽). As an example, it is though to have been made sometime in the 10th century of the Heian era, during the reign of the Emperor Tenjō. There are also info about it bearing the signature “Sanjō” on its tang, and is made by “Sanjō Kokaji Munechika” (三条小鍛冶宗近)¹ of the Sanjō craftsman group, are listed. This sword’s name being “Mikazuki” is also stated here. The following line from the “Kyōhō Meibutsucho” (享保名物帳) hints on how this name came to be. The original Japanese is presented, followed by my transliteration.
JAPANESE:「三ヶ月と申す仔細は三ヶ月形の打のけ数々有之依て名付たる由」
TRANS: “The reason behind it getting the name “Mikazuki” is based on the client’s request, where, under specific instructions, the blade was struck repeatedly during the crafting process into a thin blade bearing the shape of a 3rd-day moon (crescent moon)”
While there is an “accepted” history, the list of owners of the Mikazuki Munechika is not definitively confirmed, as there seems to be varying sources. We’ll begin with the 1st theory, which begins with Hino Uchimitsu.
THEORY #1: ORIGIN THROUGH UCHIMITSU
Hino Uchimitsu (日野 内光) was the 2nd son of Tokudaiji Saneatsu, a senior court official in the Imperial Court during the Muromachi period. Born in 1489, he was a high-ranking noble who held different ranks in the Imperial court. It’s not stated how Uchimitsu acquired the Mikazuki, but most accepted sources say that its history starts with him.
Uchimitsu took part in the conflicts that erupted between Hosokawa Takakuni and the loyal followers of Kozai Motomori, Hatano Motokiyo and Yanagimoto Kataharu. When Takakuni had Motomori commit suicide, the two brothers revolted against him, raising a force to attack his castles. Different influential individuals were called to assist from both sides, with Uchimitsu siding with the brothers.
In the 2nd month of 1527 Uchimitsu took part in one of the battles, which occurred within the region of Katsurakawara in Kyoto prefecture. He led his force and faced off against Hosokawa Takakuni’s army, wielding the Mikazuki. However, Uchimitsu was killed during the course of the battle. It is said that to this day, you can see a chip in the sword, being proof of him using this sword in battle.
The faith of Uchimitsu and the Mikazuki was not left unchecked. It is said that Hatake Bokuzan, a fellow companion and feudal lord from the East, had given this fallen warrior a funeral, and offered the Mikazuki to a temple called Kōyasan (高野山) located in Wakayama prefecture. Bokuzan did so as a means to wish him good fortune in the afterlife.
While it may be so that the Mikazuki was once kept in Kōyasan, there seems to be doubt as to who actually brought it there. You see, Bokuzan actually passed away in 1522, 5 years before Uchimitsu’s death in battle. Was there a miscalculation in the dates? Probably not. Is it possible that another member of the Hatake did this? Currently there is no evidence on other Hatake members being involved with this matter. What is accepted, however, is that this fine sword was later taken from Kōyasan by Toyotomi Hideyoshi, one of the few successful rulers to unify Japan during its warring period.
FROM ONE OWNER TO ANOTHER
From records found in the collection of Hideyoshi’s wife, Kōdaiin (高台院)², is a written account about the Mikazuki. It is listed as a memento, as it appears she kept the Mikazuki, even after Hideyoshi’s death. She even kept it after power of rule was taken by Tokugawa Ieyasu in the early 1600s, who established the centuries-long Tokugawa Shogunate. Kōdaiin lived until the age 78, and passed away in 1624.
Artwork of Kodaiin during her period as a Buddhist nun.
In the same year of Kodaiin’s death, this memento was inherited by Tokugawa Hidetada, the third son of Ieyasu who became the 2nd shogun in 1605. From here on, the Mikazuki is recorded as a sword part of the Tokugawa family’s collection. Talk about it can be found in the “Onkoshimono Motocho” (御腰物元帳), a document written in 1868 about swords collected and owned by the many Tokugawa shoguns. There are other documents that give details of how it was passed down within the Tokugawa family as a family heirloom.
The Mikazuki would remain in the Tokugawa family for many generations, even after the Tokugawa Shogunate was dissolved. The last member of this illustrious family to hold onto it was Tokugawa Iesato, who was a prince/duke at the time. In 1929, Iesato brought attention to this old relic when he had it put up for display at the Japan Renown Treasure Exhibition (日本名宝展覧会).
With attention brought back to the Mikazuki, people seek out to learn more about it. One of these happened to be Honma Junji, a respected researcher on ancient swords, was given the chance to inspect it sometime between 1930 and 1931. He He then wrote about it in a publication called “Kenzan Tōwa” (薫山刀話), giving the sword high praise in regards to its craftsmanship. In time, the Mikazuki was given a grade as an antique, being categorized as an ancient national treasure.
In 1945, the Mikazuki will leave the centuries-long possession of the Tokugawa family, and be passed around a few times in the hands of avid antique collectors. In 1992, it would make its new home at the Japan National Museum, where it is part of its vast collections of ancient and modern works of art. This is where the Mikazuki can be found today.
THEORY #2: ORIGIN THROUGH YAMANAKA YUKIMORI
The other supposed origin of the Mikazuki comes from the Chōkyō Meizukushi (長享銘尽), a document about particular swords that is estimated to have been written around 1488. In this, it is mentioned that a Yamanaka Yukimori (山中幸盛), a warrior from Sanin area of Central Japan, had initially possessed the Mikazuki. At this time, this sword had a mikazuki (crescent moon) motif, thus how it got its namesake.
Artwork of Yamanaka Yukimori from the ukiyoe series “One-Hundred Aspects of the Moon” (月百姿), entitled “Crescent Moon of Faith – Yukimori” (信仰の三日月 幸盛). By Tsukioka Yoshitoshi.
The issue with this theory is in regards to when Yukimori was alive. Records show that he was born in 1545, which is almost 60 years after the Chōkyō Meizukushi was written. Unless this said document was updated to include his data, this is a discrepancy which can debunk this theory. With this being said, it is not impossible for this to be the case; as with anything that is a form of records, it is not unusual for documents to get added information over the years, in order to keep it up-to-date for the times. Speaking of records, Yukimori is quite a famous figure, as there are many tales and paintings that hail him with praise & merit. In fact, he is glorified based on a particular courageous last stand in Harima Province’s Kozuki castle against the mighty force of the invading Mōri clan in 1578, where he worked hard in assisting in the revival of his benefactor, the once-elite Amago clan. Before his inevitable fall, it is said that Yukimori went to Kōyasan, prayed before the Mikazuki that was kept there as he put his faith in the strength of the sword, then proceeded to take it with him³.
Was it truly the same “Mikazuki” in which this article is about? There is a possibility it is not, as it conflicts greatly with other official documents that state it was in the safekeeping of the Toyotomi family. On another note, “Mikazuki” is not an unusual title, so there is a high possibility that there were other swords that bore the same namesake, which could be the case for Yukimori.
Here’s some other key points regarding this version of the Mikazuki:
Measures at 2 shaku 2 sun 8 bu (about 60 cm)
It was nicknamed “Hangetsumaru” due to the unique hamon (pattern created along the blade) visible on it.
Part of its fittings included a handle wrap that had an elite family emblem called “kikukiri”
There are accounts of other swords that were owned by him, all about the size of a wakizashi. This includes one that had the length of 64 cm⁴, was crafted by Sukesada, a famous swordsmith⁵, and had a record of it being kept in the possession of Namazue Sakyou-no-suke.
An image of the kikukiri emblem.
With this, along with some other info related to Yamanaka Yukimori, the consensus about this version of the Mikazuki is that it most likely is not the same as the one that had its start with Hino Uchimitsu, if this one actually did exist.
ENDING
This article on Mikazuki comes to a close. A work of fine details and appealing design, the Mikazuki was not a weapon used on the battlefield, or much for combat for that matter. Instead, it was held as a trophy, and an item of status that significant individuals took pride in acquiring. Stay tuned for the next part of this series, which will feature the Juzumaru Tsunetsugu as the next sword from the Tenga Goken.
1) What is actually written is “Sanjō Kokaji”, but this is historically known to be tied to Munechika.
2) “Kōdaiin” is her Buddhist name, which was taken up after Hideyoshi passed away, and she established the temple Kōdaiji. Her other names prior to this included “Nene”, and “Toyotomi Yoshiko”.
3) This scene is often depicted as poetic, where Yukimori declares his faith to the moon in the sky. At this time, the phase of the moon is said to be that of a crescent moon. There are other artworks that show him doing so under the moon. However, it seems that him actually taking the Mikazuki Munechika from the temple at Kōyasan while performing this could have been an add-on to strengthen his connection with this sword.
4) In Japanese old measurements, 2 shaku 1 sun 2 bu
5) As a quick background reference, Sukesada is said to have come from Bizen no kuni (Bizen country), and learned to be a swordsmith under the Osafune. He made a name for himself as being very talented. However, there are many swords that have “Sukesada” engraved on the sword tang, indicating the name itself became a brand that others used. Due to this, it is tricky to credit him for all the swords that bear his signature.
The first sword we will cover in depth is the Onimaru Kunitsuna (鬼丸国綱). This sword was actually introduced in another article, entitled “Unique Swords with the Finest Edge“. Wielded by those of nobility and military status, it is portrayed as a mystical sword able to dispatch evil spirits, thus protecting its owner. Bearing such an illustrious profile, one would imagine it’s a true treasure with such power anyone would never bear to part from it. To be honest, this perception is not 100% accurate, for at a time the Onimaru Kunitsuna had a very negative reputation. Before we go into its rather rocky history, let’s examine this sword’s specifications.
Images of the blade of the Onimaru Kunitsuna. From Wikipedia.
Status: Imperial treasure
Blade length: 78.2 cm
Curvature: 3.2 cm
Maker: Kunitsuna
Out of the 5 swords, the Onimaru Kunitsuna is deemed a treasure of the Imperial Palace. This, however, does not mean it’s a national treasure, for it is rarely on display for public viewing, while few publishing have pictures of it. This may have to do with its rather complex history, and how it came to be included in the safekeeping of the Imperial Palace. Much of its extra-ordinary status comes from documents considered recordings of actual past events, like the novel-styled historical writings from the “Taiheiki” (太平記), and the Imperial logs of legendary and political matters from the “Gobutsu Chōsho” (御物調書). When reviewing the actual documents or sites that reference these same sources that pertain to the Onimaru Kunitsuna, you notice that much of it is unusually detailed dialogues and labeling just for a sword, which can range from its passing from one owner to another as a spoils of war, to reference during a simple evaluation by order of a government official. While I can’t say that all that’s written about the Onimaru Kunitsuna is factual or not, I will say that some of the info is a little over the top, and should be taken with a grain of salt.
BELOVED SWORD OF THE HŌJŌ CLAN
The origins of this sword is traced to around mid 1200s, during the Kamakura period. Hōjō Tokimasa, the 5th Regent who was in control of the government body known as Kamakura Bakufu, commissioned the swordsmith Awataguchi Kunitsuna to craft him a special sword. This was fulfilled, with the sword being called “Kunitsuna” based on the name signed on it.
An ukiyoe of Hōjō Tokimasa. From Wikipedia.
This sword would also gain an addition to its name, “Onimaru”¹, a little later. This came about when Tokimasa was tormented by nightmares caused by a demon while sleeping. As if willed by an unknown power from his keepsake sword, Tokimasa drew Kunitsuna out of its sheath and swung it down, cleaving off a part of the leg of his light stand that had the mark of a demon on it. From this, Tokimasa would give his sword the full title “Onimaru Kunitsuna”, as he believed it was good luck against mystical danger. Thus, it was a treasure of the Hōjō family for several generations.
However, this “good luck” of the Onimaru (title choice for remainder of article) was not witnessed again outside of the Hōjō household. This beloved sword was safely in the possession of this family up until the 14th successor Hōjō Takatoki, and after his passing, would later fall into the possession of Nagoe Takaie, who was the son of Hōjō Tokiie². It is said that in 1333, as many groups rose to oppose the Kamakura Bakufu rule controlled by the Hōjō clan, a particular rivalry between the Nagoe (Hōjō) clan and Akamatsu clan erupted, leading to skirmishes between both sides. The Hojo clan made an attempt to claim Yamazaki (present-day Ōyamazaki Town, Kyoto) from the Akamatsu clan. Takaie took part in this as he rode into the fray with the Onimaru at his side at Koganawate (present day Fushimi Ward, Kyoto City)³. However, he suffered the ill fate of being shot between the eyebrows by an arrow, dropping him dead in battle. Due to this tragedy, the Onimaru would later be returned back to his father Takatoki.
MISFORTUNES AS AN IMPLEMENT FOR WAR
A war commander by the name of Nitta Yoshisada would be next to gain possession of the Onimaru. This happened during an assault on Kamakura later in the same year, where it became evident that the might of the Hōjō clan was waning. Hōjō Kunitoki made an attempt to repel the assault, but things were looking grim on his side. At this time, he would have in his possession the Onimaru, and attempted to escape. However, he was caught by a subordinate of Nitta Yoshisada, assembled with other family members at a temple called Tōshōji, and was forced to commit suicide. Here is where the beloved sword would switch to the hands of Yoshisada. To claim such a treasure from a powerful family such as the Hōjō would mean good things to come…or so that was the thought.
An artwork entitled, “Nitta Yoshisada Ikuta no Mori no tatakai ni oite Koyamada Takaie Yoshisada no migawari to naru” (新田義貞生田林の戦に於て小山田高家義貞の身代りとなる). Depicted here is Nitta Yoshisada who is weilding the Onimaru Kunitsuna in a difficult battle. Created by Tsuchiya Koitsu.From Wikipedia.
We turn to the Ashikaga clan, who originally were supporters of the Hōjō clan, and rose in power by establishing their own military government in Kamakura by the new shogun Ashikaga Takauji. Not in agreement of the sudden change of power, Nitta Yoshisada opposed Ashikaga Takauji, resulting in them going to war. At first nothing impactful took place between the two sides, but soon Takauji would start to get the upper hand. In 1338, during the battle at Fujishima in Echizen Province, Yoshisada rode out into battle with the Onimaru and another sword known as the “Onikiri” (鬼切), attempting to prevail through his 2 auspicious swords. However, being caught by a rain of arrows from the enemy, he was shot dead as one of the arrows pierced between his eyebrows. Yet again, another display of the Onimaru providing no protection to those who attempt to wield it in physical battle
As the spoils of war, the Onimaru, along with the Onikiri, were taken by Shiba Takatsune, a commander who was in the service of the new shogun. Learning of the successful victory over Nitta Yoshisada and his army, Takauji sent a messenger to learn the whereabouts of the swords. When questioned by the messenger, Takatsune lied that both swords were kept in a training center, but was lost in a fire that erupted inside, destroying the building and everything inside. It would later be discovered that this was a lie, which Takauji lamented over this fact. Eventually, Takauji managed to secure the auspicious sword in his possession.
An interesting observation worth noting is that from this point on, the Onimaru will not be taken to the battlefield again, due to the misfortune of defeat and death that befell those thinking its surreal spiritual power would transfer to victorious physical strength⁴. Instead, it stayed as one of many valuable treasures within the position of the Ashikaga clan.
THE VALUABLE TREASURE MANY REFUSED TO TAKE IN
From here on forward, the Onimaru will pass through the hands of other prominent figures in Japan outside of being a spoils of war. This first takes place sometime around the late 1560s to early 1570s, when the 15th Ashikaga shogun Ashikaga Yoshiaki gave potential rival Oda Nobunaga the sword as a peace offering. In turn, Nobunaga gave it years later to his vassal, Toyotomi Hideyoshi⁵. By now, the Onimaru had a reputation of being a mystical blade that can eradicate evil spirits, but bearing the potential of bringing ill luck to those who wield it out on the battlefield. Taking an interesting turn by believing in the tales of its ability to ward away evil spirits, Hideyoshi had it evaluated by the Honami clan, and lent it to Honami Kōtoku for safe keeping.
The Onimaru stayed as part of the Toyotomi family’s collection for a few decades. However, this would change after their demise when they lost during a war on their home, Ōsaka castle, by Tokugawa Ieyasu and supporters from eastern Japan in mid 1615⁶. Ieyasu would seize control over Japan as the new shogun, and establish the Tokugawa Shogunate. As if following protocol, Kōtoku would give the sword to the new Shogun, as it now has a new owner. Despite receiving this great sword, Ieyasu decided to follow suite and pass it back to Kōtoku for continued safe keeping…possible due to suspicion of its “unlucky” reputation.
Artwork of Tokugawa Ieyasu, from the series “Mikawa Eiyuden” (三河英雄伝). By Utagawa Yoshitora. From Wikipedia.
In 1626, Ieyasu’s granddaughter, Tokugawa Masako, gave birth to the 2nd prince of the Imperial family, whose name was Sukehitoshinō. As she was be-wedded to Emperor Gomizunō and tied the Tokugawa family’s lineage to the Imperial line, this was an honorable occasion. As an offering, the Tokugawa family had the Onimaru delivered to the Imperial family, as a sign of their connecting with the newborn prince. Unfortunately, Sukehitoshinō would suddenly pass away in 1628, after his 3rd birthday⁷. The cause of death was thought to have been due to the “unlucky” sword, thus having it returned back to The Honami clan for safe keeping yet again.
The Onimaru remained in the care of the Honami clan for some time. They were also rewarded for their dedicated service at some point, as the sword was maintained in exceptional condition. However, after being unclaimed for a few centuries, the faith of the Onimaru would finally be decided in 1867, with rule over Japan being restored to the Imperial line after the fall of the Tokugawa Shogunate. With this change in power, the sword was no longer an item of the Tokugawa family, but instead recognized as an Imperial treasure. It would then be added into the collection of the Emperor and the Imperial Palace in 1881, after the Honami clan fell into a decline in a successor to properly fulfill the job of sword care & evaluations. This is how the extraordinary sword known as Onimaru Kunitsuna would find its last home, and remain as part of the Imperial collection to this day.
ENDING
We close this article on the 1st sword out of the Tenga Goken, Onimaru Kunitsuna. Bearing the reputation of its spiritual powers to eradicate evil spirits, it received quite a reputation during a time where many were superstitious. On the flip side, it was also deemed bad luck, which stemmed from providing no protection against physical dangers, to bringing untimely death. Are all these tales about the Onimaru Kunitsuna warrant? It’s impossible to get full clarity, but it does indeed make for an interesting tale. Stay tuned part 3, which will cover the the next sword known as Juzumaru Tsunesugu.
1) This is also the shorthand name for the sword
2) The Nagoe clan was a related branch of the Hōjō line
3) This particular clash is properly know as Koganawate no Gassen (Battle at Koganawate)
4) It is rumored that the 13th shogun Ashikaga Yoshiteru (1536~1565), a skilled swordsman, wielded the Onimaru against overwhelming odds at Nijō Gojo in Kyoto. This is a statement without a reliable source, so can’t say that this is true.
5) Toyotomi Hideyoshi is the name he’s most recognized by after he became shogun of Japan in late 1500s. While he was serving under Oda Nobunaga, he went by a different name, which was Hashiba Hideyoshi.
6) This war is known as “Ōsaka no Jin” (Siege of Ōsaka), which was a 2-part assault with the 1st taking place in the winter of 1614, then the 2nd in the summer of 1615.
7) This is based on the traditional age calculating method primarily used in Eastern Asian, where a newborn baby is considered one year old, then gets one more year added after the New Year.
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)
Dōjigiri 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 THEHONAMI 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 “To the right,one of the 5 swords“
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 “To the right, this is said to be #1 out of the 5 swords”
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」
Dōjigiri 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 “To the right,one of the 5 swords due to it being 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 “To the right,this is also among the 5 swords due to it being 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 most likely 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, swords were classified as a tachi based on having a bigger curve in the blade, meeting the standard 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 as an object that is swung. Even though the word “sword” is not present, the counter itself lets the reader know what is being referenced here.
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).
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.
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.
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.
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.
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 ChikanobuArtist 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 naginataNaginata is knocked awayDefender reaches for tantōOpponent is bested by unexpected use of tantōHere, 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.
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.
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.
