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2018: Year of the Earth Dog

新年明けましておめでとう! (Happy New Year everyone!)

As the new year of 2018 begins for all of us, it’s time to get on with some new posts. Just about everyone wishes to progress though the year with as much success as possible. Those that do so following the Chinese Zodiac calendar generally look to this first to see what is in store for the new year, such as to find out what sign is being represented. In case you didn’t know, the sign for 2018 is the Dog.

As was discussed in a similar post regarding the Rooster Sign and the Chinese Zodiac calendar last year, every year follows an ancient astrological system that predicts how things will unfold. A zodiac sign is used to explain this, which is represented by an animal for easier understand. Well, this happens to be the dog sign, an animal that is, in many modern societies around the world, beloved and a symbol of comroderie. How does this relate to the traits that the dog sign of the Zodiac calendar represents? Let’s find out.

INFO ABOUT THE YEAR OF THE EARTH DOG

  • Chinese New Years takes place on February 16, which is when the year of the Earth Dog begins according to the Chinese Zodiac calendar.
  • In relations to fortune telling, the dog sign of old is associated to the 10th month of the year¹, falls in the middle of 8 pm (and continues on for another 2 hours) on the old clock system, it’s direction is north-west-north², and is the 35th year in the current 60-year cycle of the Chinese Zodiac calendar.
  • In Japanese, the year of the dog is “Inudoshi”, which is written as “戌年”.
  • According to the Eto³ (Japanese for both the 12 Animal Zodiac signs and 5 Elements), the element that accompanies the dog sign this year is earth. Thus, the astrological naming convention for this year is “Earth Dog”.
  • Earth Dog is written as “Tsuchi no E Inu”, or “戊戌⁴”. This does not use the standardize kanji for both “earth” and “dog”.
  • The dog sign represents dedication, effort, and leadership. The earth element supports those qualities, giving the intentions behind them a sense of justice.
  • While it would seem that much positive is in store to grace those born in the year of the dog, there is also a chance falling under the influence of sensitivity. This can lead to periods of loneliness, especially if things are not going your way.
  • Sensitivity to injustice could also lead to rash actions. There is the potential for opposing those that are viewed wrong. Protesting and rioting are such means.

DOG ANIMAL SIGN FUN FACTS

  • The kanji (Chinese character) used in the Chinese Zodiac calendar is “戌”. It’s pronunciation is “inu”, which is the same for dog in Japanese. However, the kanji used doesn’t stand for dog. The proper kanji would be “犬”.
  • The kanji “戌” instead originally meant to wither or decay. For a clearer image, think plants or grass that have not been watered.
  • This kanji’s ties to the dog is only due to the fact they both have the same pronounciation, which makes it easier to remember it when the image of a dog is used to represent it.
  • The dog sign is #11 in the Zodiac cycle. While the reason why this sign is placed as that number is based on old Chinese philosophy when it was created, in the old fable where 12 animals are chosen through a race⁵ , the dog finishes in 11th place. He is beaten by the rooster, but manages to cross the finish line before the pig (boar in Japan).
  • In Japan, some souces give extra emphasis to the dog sign representing friendship and loyalty. This is further supported with the imagery of a dog with a happy face, which is a good incentive to greet all with a friendly heart.
A photo of Hachi in his later years. From Wikipedia.
The statue of Hachi near one of the entrances into Shibuya station in Tokyo. From Wikipedia.
2 pics related to the true story of “Chūken Hachikō⁶”. Click on each of the pictures above for descriptions.
  • There is a famous true story in Japan that could easily be related to the personality of the dog sign called “Chūken Hachikō⁶”, or “The Faithful Dog called Hachikō”. Hachikō, or Hachi if we go by his original name⁷, lived with his owner in Tokyo. Hachi would accompany his owner to the train station in the morning to see his owner off to work, and return back later in the day to wait for his return. One day, in 1925 his owner passed away while at work. Unaware of this, Hachi returned to the station and waited…but did not see his owner. He continued to go to the station everyday waiting for his owner for several years, being fed and watched over by the townsfolks, most who were familiar with him from the start. In 1935 Hachi died from illness to his heart and injesting harmful items. Moved by his dedication and loyalty, locals had his body preserved (stuffed) and kept in a museum for awhile, before the remains were taken to be buried in the same gravesite with his former owner. A bronze statue can be seen before that same train station, made in Hachi’s honor in remembrance of his unwavering loyalty.

2018 PREDICTIONS

  • The traits of the dog sign is that of friendliness, honesty, dedication, and leadership. Being social and frequently communicating with others will ensure peace and happiness to all.
  • 2018 is a good chance for change in one’s lifestyle. This includes for those to starting new business ventures, enrolling in school, moving to a new place to live, and becoming more health conscious with a new diet or routine.
  • When doing business, honesty and fairness will go a long way. Dishonesty and bad business practices will be met with a huge backlash.
  • Family and friends will be held at high regard, which will help to keep relationships strong.
  • Being a protector of those vulnerable is also a trait for those of the dog sign.

CONCLUSION

In ending, 2018 should be a positive year promoting unity and a drive for happiness. As this year is the dog sign, we can be inspired to look forward, take care of those around you, and work hard to be successful in an unpretentious manner. The earth element should help solidify this. Wishing everyone good fortune this year, and hope we all can unify through good relations!

1) On the old calendar, this was originally the 9th month

2) According to N-E-W-S directions if you use a standard world map, the point is slightly veering downwards, sitting on the 300° mark.

3) 干支

4) Also pronounced as “bojutsu”.

5) The folklore of the 12 animals being chosen by the Jade Emperor was designed to help people remember the Zodiac, as well as give meaning behind animals being associated to each specific sign & traits.

6) 忠犬ハチ公

7) In the name Hachikō (ハチ公), kō (公) is an honorific suffix used for those of presigious ranks who have pssed away. Note that the origin of its use in this manner was not truly positive. On top of that, the reason behind using it in honor of an animal is also questionable.

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Ringing in the New Year….

As we have one more hour to count down to the new year, would like to say thank you to all who’s followed my blog, Light in the Clouds. Although December was a slow month, it doesn’t mean I wasn’t busy with new entries and contents. Be on the look out for more posts related to different topics related to Japan, as well as insight on martial arts. Also, there will be a few new & excited announcements made early in 2018.

Wish everyone a safe and happy New Years, and a prosperous start for 2018!

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Revisiting the Shichiyō through Takaharu

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

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

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二代隆治（たかはる）

隆信の長男、南朝に奉仕宮内少輔に補された。

後村上天皇より倫旨を賜る（寛永十七年火災で焼失）

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

翁が突然現れ、南方の七曜星の輝き目標の進むよう諭しあり無事九鬼に帰る

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

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

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

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

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

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

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

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

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

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

1) 写真で見る九鬼水軍発祥の地

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

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

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

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

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

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Kuki Archives: Pioneering ~ Part 1

Looking at any of the family lineage charts of the Kuki clan that are public, you will notice they are pretty large. There are many family branches on these charts, some blood line and some not. At different time periods various members migrated to different regions in Japan, with their influence having an effect on their environment one way or the other. In a 3-part series, I will focus on the main line¹ of the Kuki clan, touching upon some key historical events. Ranging from where they resided down to merits earned, we’ll look through the pages of history and discover those individuals who, as pioneers, contributed to making the Kuki name famous.

The Kuki family’s first venture is by its originator, Fujiwara Ryūshin². A descendant of an ancient & prestige clan called Fujiwara, it is no mystery that he would be recognized by this family name in many historical document. Interestingly, Ryūshin would pick up other titles and nicknames, a few based on his professions at one point³. The family name “Kuki” would come much later, which possibly is a derivative of yet another one granted to him called “Kukami”⁴. While there’s a good account of his life, there are many unclear parts to Ryūshin’s story, even up to his final days.

A map of Japan where Fujiwara Ryūshin was active in throughout his life.

Ryūshin was alive and active in the 1300s, during the Nanbokucho period⁵. He was born in the Kumano area, where his father was a head priest at the shrine called Hongu Taisha in Wakayama prefecture. In historical documentations, especially those attached to famous landmarks, his birthdate is stated as unknown⁶. Due to his family’s well-being, Ryūshin was not only educated, he was also considered a skilled fighter due to access in studying martial, military, and esoteric arts⁷. These he learned both from his family, as well as at temples up in Mt. Kurama foumd in Japan’s capital Heian Kyo (present-day Kyoto prefecture).

In his adulthood, Ryūshin resided in Sagura, located in Ise no Kuni (present day Yokkaichi city). As a supporter of the Southern Emperor Godaigo, he would show his loyalty by working at the Southern Court in Yoshino (present day Yoshino town in Nara prefecture) as a soldier. Upon climbing the ranks, he rose to the position of Chūjō, meaning “Vice Admiral”. To distinguish this, his title while in service was “Sagura Chūjō Ryūshin”⁸.

Years later, around 1346⁹, Ryūshin was attacked by a Northern court supporter named Nikki Yoshinaga¹⁰, through the betrayal of Hiraga Kurando¹¹. Details about this are scarce, for example it’s not mentioned where & how this incident took place, nor if Ryūshin along with his collegues faced this assault. In any event, this incident drove Ryūshin away from Sagura.

Ryūshin would move abit more south west, and make his new residence in an area called “Kuki Ura¹²”. Kuki Ura is generally said to be in Mie Prefecture around Kii Muro District. However, if we get more specific, most historical records would point to eastern part of Owase City found in Kii Peninsula within the southern region of Mie prefecture. This new area had many large hills and trees, giving it a natural defense against threats. A harbor was not too far away from Kii Peninsula, which gave access to naval travel to the Kuki family, as well as develop their seafaring skills¹³. This location was also useful later for the Kuki Suigun.

Ryūshin would establish a fortress called Kuki Jo (九鬼城, Kuki Castle) in the hills that overlooked the sea. Later, a town called Kuki Cho (九鬼町, Kuki Town) would be developed around Kuki Jo. With a background in Shinto practice, Ryūshin would also have a hand in the construction of a temple called Yakushiji (薬師寺), now known present day as Shinganji (真巌寺).

A picture of Kuki Jinja. Taken by and copyright of Yanai Kenichiro. Used with permission.

Kuki Takaharu¹⁴, Ryūshin’s oldest son, would later assist in the development of a shrine to the west of Kuki jo. This shrine, called Tenmangu, sat ontop of a tree-laden hill in front of the docks with this location called “Miya no Tani” (Imperial’s Vally). An offering of “Goninbari” bow¹⁵ and arrows were presented to this new shrine. Generations later, it’s name was changed from “Tenmangū” to “Kuki Jinja”.

Ryūshin and his family’s influence in this area is still seen today. While Kuki Jo is no more, Kuki Cho and the shrines they established still exist. Kuki Cho continued to grow over the many generations, with a flourishing fishing community, and a Kuki Station on the Japanese National Railway. As a form of markings from the past, many of the older houses there still bear a “Hidari Mitsudomoe” crest along the top of the roofs, which is one of the 2 kamon (family crest) of the Kuki. The influence of the Kuki clan still remains in this town.

This wraps up part 1, through the first steps of pioneering done by Fujiwara Ryūshin. Part 2 will be out soon, to continue with the ventures of the Kuki clan.

1) This line, often considered original, is nicknamed “Kunaike” (宮内家), which means “Imperial household” or “Family of the Imperial line”.

2) 藤原隆真. The name “Ryūshin” doesn’t follow the “conventional” naming style, although it’s possibly an exception for his time period. How his name may have also been pronounced is shared from Kuki-related Japanese sites as “Takazane”. Another possible pronunciation is “Takamasa”. These would not only be viewed as more culturally correct, but would put his name in line with how his descendants are named.

3) An example, “Yakushimaru” is a childhood name he used. This was given to him based on his successful conception and birth believed possible by the prayers his mother performed to the Buddhist god Yakushi at the temple Enryakuji, which is on Mt. Hiei in the northern part of Kyoto.

4) The background info of “Kukami” is related to Ryūshin’s story of martial prowess and unshaken loyalty to the Southern court Emperor Godaigo. Documentations regarding this are found in the possession of the Kuki family. For more on this, please read one of my older posts here.

On the other hand, many sources that speak either of the Kuki family’s martial traditions, military exploits, religious connections, or territorial migration give different accounts just when the Kuki name was in use. There’s much confusion when trying to sort reality from fiction. For the most part, the name “Kuki” was used later in Ryūshin’s life, possibly after residing in Kuki Ura for many years.

5) 南北朝時代. The title “Nabokucho” refers to the split in the Imperial house located in Kyoto around 1336, where 2 brothers by the names of Komyo and Godaigo were in disagreement regarding who was next in line to take the throne as Emperor. Thus, 2 Imperial courts were established that recognized each brother as an Emperor, one to the north of Kyoto (Komyo) and the other to the south (Godaigo). Despite years of conflict both on and off the battlefield, both courts were finally unified in 1392.

6) In sources from those related to the main Kuki line, Ryūshin’s birthdate is stated to be either 1317 or 1318.

7) The original martial system Ryūshin learned is called “Shinden Fujiwara Musō ryu (神伝藤原無双流). Along with esoteric training, he also studied the martial arts once taught at the temples on Mt. Kurama.

8) 佐倉中将隆真. This title means “Vice Admiral Ryūshin of Sagura”. It was not uncommon during ancient times where one’s last name (if that individual had a last name) would be dropped and replaced by either where they come from or where they are employed at.

9) Depending on the source, the actual date is conflicting. For example, in “Kiizoku Fuushiki” (紀伊続風土記), date written is 1367. Other sources, such as “Owase no Uramura” (おわせの浦村), date is 1346. Differences could be based on the calender used. Following the standards how historical events are presented by accepted sources and records, I am using the latter.

10) 仁木義長. Yoshinaga was a vassal of the Ashikaga clan, as well as a commander. Being of the Northern court, he took part in conflicts against the Southern Emperor Godaigo and his supporters. Apparently, Yoshinaga, along with the help of his brother, was able to get certain individuals from the Southern court territories to side with him.

11) Kurando was a lord of an area in Hanawa District, located in what is know known as Tsugaru, Aomori Prefecture.

12) 九木浦. While pronounced the same, Kuki Ura’s “Kuki” is different from the family name “Kuki”. The 2nd character in Kuki Ura stands for “tree”, different from the one in the Kuki family’s name “九鬼”, which stands for “demon”. Apparently, it was first written as “九鬼浦”, but changed years later to what it is now.

13) Most of Ryūshin’s knowledge of navel matters originally comes from the Kumano Betto (head priests) that administered the 3 grand shrines in the mountains of Kumano in Wakayama prefecture. For example, the head priest Tanzō (湛増) (1130-1198) is famous for commanding the Kumano Suigun (Kumano Navy) that assisted Minamoto no Yoshitsune in defeating the Taira clan in the battle “Dan no Ura” in 1185.

14) 隆治. Not to be confused with the Takaharu born in Meiji period (1886-1980), this Takaharu is the oldest son of Ryūshin and counted as the 2nd in line as head of this Kuki line. In regards to both the martial/religious traditions and the militaristic engagements of the Kuki family, Takaharu’s name doesn’t come up. Cross referencing the different lineage charts in books such as “Shinden Bujutsu” (written by Takatsuka Eichoku) and “Kukishinden Zensho: Nakatomi Shintō, Kumano Shugendō” (written by Agō Kiyohiko), his name is not on them, as if skipped. Reason for this could be that he didn’t partake in/inherit anything.

For information about this Takaharu, one would have to access other sources related to where he resided/grew up. For example, Takaharu is mentioned on the official homepage for Kuki Cho here, as well as on some other sites. Common background info is that Takaharu was employed at the Sourthern court in Ise no Kuni as a “Sunaisuke” (少輔), which is equivalent to “Assistant Vice-Minister”. You can say that he followed in his father’s footsteps and worked in the same place Ryūshin did. He returned much later home, where he aided his aging father in the construction of the shrine Tenmangū.

15) 五人張りの弓. “Goninbari” bow means a bow that requires five people to string & prep for use. That is, four people bend the bow, while one person strings it.

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Kijin Jinja: Ridding Misfortune through Demons

There are some unique and unusual things in Japan that are not normally seen or talked about, especially those that are old & have a long history. For example, in a few posts in my blog I discussed about tales of certain oni¹ (or demons in English) viewed as beings to be revered. While oni are generally seen as being scary and bringers of misfortune in Japanese culture, there are groups that are opposite of this, and instead give praise to particular oni for the sake of luck and protection².

A snapshot of the entrance into Kijin Jinja. All credit and rights of picture goes to  Yoshi Oka.

One of the more unusual practices of giving praise to oni can be found in shrines. Take for example Kijin Jinja³, a shrine located in Saitama Prefecture. It is 1 of the 4 shrines found on Japan’s east side that are dedicated to worshiping oni⁴. At Kijin Jinja, the oni is viewed as a model of unwavering effort, resilience, and having the will to win. This shrine is well known for it’s small ornamental statues of demons on the roof tops, paired red and blue demons drawn on “ema⁵” (small wooden plaques) used for writing one’s prayers & wishes, and small omamori⁶ (charm for protection) in the form of a “oni no kanabo⁷” (demon’s metal club). Thus, visitors that frequent here come to get “powered up” in passing entrance exams into universities, making their homes safe, thriving business, and the like.

Records of Kijin Jinja state that it was established in 1182, nearing the end of the Heian period. Its history lies with a military commander by the name of Hatakeyama Shigetada⁸ (1164 – 1205) , who was owner of the castle called Sugaya Shiro⁹ in Musashi no Kuni (present day Saitama Prefecture). In order to protect his castle at its point of misfortune¹⁰, Shigetada built a shrine there. To make things even more interesting, the deity of worship in this shrine was devised to be that of a demon itself, to counteract bad luck that is usually associated with demons themselves. Thus is the beginning of Kijin Jinja.

One of the festivals that take place throughout Japan is called “Setsubun¹¹”.  It’s a celebration of the end of winter, and a period to rid one’s household of bad luck. Part of the celebration called “mame maki¹²” is where roasted soybeans are spread along the ground in one’s residence to drive away demons, then swept up as if “sweeping away misfortune”. A phrase that goes along with this is “oni wa soto, fuku wa uchi¹³”, which means “demons (bad luck) go outside, good luck stays inside”. At Kijin Jinja, since (good) demons are respected, the celebration of Setsubun has some tweaks to it. Along with demons not associated with bad luck, the phrase used at the celebration there is “fuku wa uchi, oni wa uchi, akuma wa soto¹⁴”, which means “good luck stays inside, demons stay inside, evil demons stay out”.

Artwork called “Setsubun no Oni” (節分の鬼). A man is shown throwing roasted beans at a demon to drive it away. By Katsushika Hokusai, from his series “Hokusai Manga” (北斎漫画). From Wikipedia.

There is another tale that is attached to the Kijin Jinja, which is about “Kijin-sama¹⁵”, the actual demon deity that is worshiped here. Kijin-sama (with -sama being the honorific title) is said to be enshrined within Kijin Jinja upon its establishment. The version of the tale I am about to share is from the publication “Ranzamachi Shi” reproduced on the website called “Kijin Jinja“. Below is the Japanese version of this tale, followed by an English translation done by myself.

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鬼鎮様

むかし、川島に刀をつくる鍛冶屋さんが住んでいた。朝から晩までトンテンカン、トンテンカンと、一心につくっていた。ある日、若い男が鍛冶屋を尋ねて来た。

「わし、刀が作りたい。教えてください。」と頼んだ。鍛冶屋も忙しかったので「よし、よし」と許した。若い男は、とても熱心で、休みの時間も、また夜もろくに寝ないで、刀造りに精を出すようになった。鍛冶屋の家には、美しい女の子がいた。若い男は、主人に娘を嫁にくださいと頼んだ。主人は、少し考えて「それでは、刀を一晩に１００本作れたら、嫁にやろう。」と答えた。

若い男は、喜んで種々準備し、約束の夜を待った。夜になったので、若者は槌を振り上げ、トンテンカン、トンテンカンと刀をうちはじめた。みるみるうちに、三本五本と出来てくる。夜も遅くなった。主人は心配して、そっと刀を作るところを覗いた。出来た。出来た。今うったばかりの刀が山と積まれた。

しかし、その時、主人は刀をつくっている若い男をじっくり見た。何と、その男はいつもの男ではない。まるで鬼だ。トンテンカン、トンテンカンとうつ様も、火花を散らしてあたり一面が火の海だ。鋭い目、頭には角まで生えている。手は次々に出来た刀を積んでいく。

主人はアッと驚いて飛び出した。あの男に、可愛い娘をくれられるものか。それには鶏を鳴かせて、早く夜が明けなくては、と考え、大急ぎで鶏小屋へ走った。コケコッコー、コケコッコーと鶏が鳴いた。

主人は、また覗きに行った。鬼になった男は。まだまだ刀をうっている。けれども、そのうちに東の空が明るくなって夜が明けた。刀は９９本出来ていた。鬼の男は槌を握ったまま倒れ、死んでしまった。主人は、なくなった男を哀れに思い抱き上げて外へ出た。男の亡き骸は神主を頼んで庭の隅へ埋め、そこに鬼鎮様というお宮をつくっておまつりした。

Tale of Kijin-Sama

A long time ago, there was a blacksmith that made swords who lived in Kawajima. From morning to night, he put his heart into making swords as the clanking sounds from his hammer could be heard from his shop. One day, a young man came to the blacksmith’s shop.

“I want to make swords, so please teach me.” The young man requested. Having a lot of work to be done at his shop, an extra pair of hands would help the blacksmith greatly.

“Okay, you’re in.” The blacksmith acknowledged his request.

The young man, full of enthusiasm, put his all into making swords, for he didn’t take breaks or sleep at night. In the home of the blacksmith, was a beautiful girl, who was his daughter. The young man requested to his new boss that he be allowed to make the daughter his wife. The blacksmith gave the request some thought, before giving his answer.

“If you can produce 100 swords in one night, then you may take my daughter as your wife.” the blacksmith replied.

Excitedly, the young man made all sorts of preparations at the shop for his task at hand, and waited for that designated nighttime. Once nightfall came, the young picked up his hammer, and swung it making lots of clanging sounds as he proceeded to making swords. In a blink of an eye, he had already produced 35 swords.

It became late at night. Worrying about the matter at hand, the blacksmith went to the shop to take a look at how the young man was doing. Secretly watching the young man at work, he eyed how quickly the swords were being made one after another. In such a short time the swords were piling up!

Just then the blacksmith stared at the young man as he was making swords. Suddenly, the man before him was no longer a man! Bearing eyes that pierced like daggers, and horns protruding from his head, the being before the blacksmith’s eyes was none other than a demon!! This demon stood before what seemed like a sea of fire, as sparks scattered around the demon like fireworks as he clanged away repeatedly with his hammer, producing with his hands one sword after another.

Shocked at what he was witnessing, the blacksmith rushed out of the shop. “There’s no way I can allow my beloved daughter be taken by the likes of such a person!” He thought. Frantically, the blacksmith ran to the chicken coop, thinking that if he could get the rooster to crow, this will signal that the night is over.

“Cock-doodle-doo!” The rooster crowed (through the blacksmith’s efforts).

Afterwards, the blacksmith snuck back into the shop. There stood the man-turned-demon, who was in the middle of striking a sword with his hammer. However, just then the sky to the East began to light up as the night truly came to a close. The demon-man then fell down dead to the ground, still clutching his hammer. He was not able to accomplish his goal, for he managed to produce only 99 swords.

Feeling pity for the man who’s life was lost in work he put his heart into, the blacksmith picked up his lifeless body and carried it outside. He left the body in the hands of  Shinto priest, who in turn buried it at the edge of a garden. Later, this same place was turned into the shrine for Kijin-sama, where the celebrations in honor of him take place.

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By reading this, one can tell that Kijin-sama’s inspiring points are going beyond what may be seen as the impossible in order to accomplish one’s goals. That unyielding drive to produce nearly 100 swords in one night is definitely beyond human…which in turn is that same drive visitors wish to acquire to succeed in their tasks at hand.

That sums up this post about Kijin Jinja and its relationship with demons. There are plenty more unique and unsual things of old to be discovered that are a part of Japanese cultures, so please stay tuned for more posts regarding them.

1) 鬼. Along with the image of a large frightful creature with horns and dressed in tigerskin loincloth, oni (demons) are liken to bad luck and disasters according to certain superstitions and practices specializing in reading fortune.

2) Certain demons that do good for the sake of mankind are said to be similar to deities, thus can be revered as a god. Usually these demons are considered “dehorned”. See my posts here and here for more on this.

3) 鬼鎮神社. Kijin can be translated as “Demon Quelling” (or if referring to someone, “Demon Queller”), and Jinja as “shrine”

4) The other 3 shrines are located in Aomori Prefecture, Ōita Prefecture, and Fukuoka Prefecture.

5) 絵馬. Literally meaning “horse-drawing”, originally a picture of a horse was drawn on these wooden boards. Reason behind this is that there was an old belief that gods travel by horses. To offer one’s wishes and prayers to the gods, one method was to draw a picture of a horse on paper or a wooden board, for those who couldn’t do so in front of a shinme (神馬, a divine horse). Later, the drawn image varied depending on the god of worship.

6) お守り

7) 鬼の金棒

8) 畠山重忠

9) 菅谷城

10) According to Onmyōdō (Japanese divination system based off of Taoist beliefs and the 5 Elements), northeast is believed to be the direction where evil spirits come from. The name common for the northeast direction is kimon (鬼門, demon’s gate). In the past, one way to block these evil spirits away was to build a shrine in that direction, and have a particular deity enshrined inside for protection. Thus, many land owners had a shrine built to the northeast of their estate or castle. This practice is called “kimon yoke” (鬼門除け, repelling the demon’s gate).

11) 節分. This takes place usually the 1st week of February, either on the 3rd or 4th day. Originally, Setsubun symbolized the change in seasons, and was celebrated 4 times a year at the end of each season according to the Japanese calendar. Now, there is only one Setsubun celebration for the close of winter.

12) 豆撒き

13) 「鬼は外、福は内」

14) 「福は内、鬼は内、悪魔は外」

15) 鬼鎮様

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​Irimi Shiai & Its Application To Training

This past weekend during training, I engaged in a session of Irimi Shiai1. For Irimi Shiai, this involved one person using a bokken (wooden sword), while the other uses a training yari (Japanese spear). As this was a rather free form practice, it gave us a chance to work on techniques we learn from Kukishinden ryu Bikenjutsu, and see how to apply it against the techniques from Kukishinden ryu Sōjutsu. However, as this training was focused on the concept of Irimi Shiai, there were some rules we had to abide to, in order to make it a challenging, and informative, learning experience. This also included moments of referring to wearing armor and what role it would play in our kamae, along with spots to attack if the situation was on the battlefield.

 

ROOTS OF IRIMI SHIAI

What is “Irimi Shiai”, exactly? Well, it is well known as a competitive engagement between a longer weapon and a shorter weapon, but in reality goes beyond this as tactical practice. After Japan moved away from the constant wars of Sengoku period and was followed by several eras that promoted a more peaceful society, many martial schools utilized different training and competitive methods to keep their styles active. One method involved closing the distance between longer weapons, such as the yari. This became more prominent in the 1800s, when most martial schools moved in the direction of Kyōgi Budo² (sports-centric martial arts), competitive engagements that featured a sword style versus a spear style became commonplace.

An artwork (low-quality version) called “Sakakibara Gekikenkai Ezu” by Kaisai Yoshitoshi (aka Tsukioka Yoshitoshi). It features many martial artists in competitive matches while wearing protective gear. In the middle-right, there are 2 individuals squaring off using training yari, while below that are two fighters, one with a shinai, and the other with a naginata. From Wikipedia.


COMPETITION RULES 

In some older cases of Irimi Shiai, the kenjutsuka (swordsman) dons on padded training armor and uses either a bokken or shinai, while the sōjutsuka (spearman) uses a padded-tip training yari, and no body armor. The goal of this match was the kenjutsuka had to close the distance and get in range to strike, whereas the sōjutsuka had to keep the kenjutsuka with only the tip of the yari. The rules were usually in the favor of the kenjutsuka, whereas they have more range of techniques to use in this match, the sōjutsuka was restricted to only using thrusting techniques, and only to the armored areas on the kenjutsuka. 

Having no body armor for the sōjutsuka is an interesting rule; while it insures the safety of the kenjutsuka (they will get hit a lot by the yari due to its reach), it is a nod the favor of the sōjutsuka, indicating the superiority of the yari. On the flipside, this puts more pressure on the sōjutsuka, for allowing the kenjutsuka to get pass the tip of the yari and in range to attack will put the skills of that sōjutsuka in shame…as well as in the receiving end of the shinai. 


DIFFERENT STYLES

There are records of competitions with Irimi Shiai involved, most speaking in favor of those using a longer weapon such as the spear coming out as the victor. There is a documention of such competition called “Taryu Shiaiguchi Narabi ni Montai³”, written by Kasama Yasunao. In it is analyzation of a large martial arts event that consisted of 17 kenjutsu schools competing against 9 sōjutsu schools. Some well-established and renowned schools were involved, such as Shinkage ryu, Takeda Hōzōin ryu, Sekiguchi ryu, and Niten ryu. Very detailed writeup included a description of each school and their  specialties, the methods some schools use to train, and the techniques used during the matches. In the end, the sōjutsu schools prevailed by having the most wins. 

The settings used for Irimi Shiai isn’t just limited to kenjutsu versus sōjutsu. Depending on the participating martial schools, numerous conditions can be set featuring different weapon systems. Over the years, some of the matchups included tachi vs naginata, naginata vs yari, mokujū⁴ vs tachi, and kodachi vs tachi. Despite the weapon styles used, the idea remains the same when concerning Irimi Shiai: one side is trying to get within range to attack, while the other side is trying to maintain range and keep the other out.

 

COMBATIVE PRINCIPLES

While Irimi Shiai is best suited for sports-related martial arts, it’s important to remember that the principles stem from actual combat. During the long warring periods in Japan, certain weapons were considered superior both in use and the strategies applied to them, such as the yari. On top of this, many types of weapons were carried and used by an armor-clad samurai varying in length, and not always was it possible to carry the “superior” weapon at all times. When a samurai armed with an uchigatana5 has to confront an enemy who so happens to have a yari, that samurai must do what it takes to win. This is true even off the battlefield, where warriors may engage in duels with each other, sometimes facing off against specialists in a specific weapon system. Some examples include Bokuden Tsukahara defeating a renown naginata master named Kashiwara Nagato by cutting of the naginata’s blade with his tachi, and Miyamoto Musashi outbesting the famous spear play the monks of Hozoin took pride in.

In Bujinkan Budo Taijutsu, the different ryuha studied do not have a “sports” curriculum in it. This doesn’t mean that one cannot use “Irimi Shiai” as a tool to learn, but gives us an advantage of studying this with rules that are more suitable. For example, many forms and techniques found in Kukishinden ryu are designed for fighting in armor, so one can incorporate this in Irimi Shiai. Certain areas in one’s kamae and techniques are naturally protected by armor, so you can use this factor to guide your movements, as well as pick areas that are vulnerable to attacks on your opponent.

For Bikenjutsu, one can practice using their bokken as a shield to get by the blade of a yari. A practitioner can also seize the yari and hold on to both neutralize it and use their other hand to score a winning blow with their bokken. For sōjutsu, one is not limited to just thrusts with the blade of the yari, so all parts (including the ishizuka) can be utilized both offensively and defensively. Understanding the principles of one’s art, Irimi Shiai can be approached much realistically with less restrictions, yet must retain some structure in order to keep this as a method for learning.

 

CLOSING

This concludes my story on Irimi Shiai. It was a good experience on my end to engage in Irimi Shiai. I believe it would do wonders for others studying martial arts to challenge themselves in such a training method.

 

1) 入身試合

2) 競技武道

3) 他流試合口並問對

4) 木銃. The mokujū is a wooden replica bayonet for the purpose of training in Jūkendo. The techniques are heavily derived from sōjutsu.

5) 打刀. Uchigatana can be considered the predecessor of the modern katana due to similarities in blade length and shape. This was used as a close-range weapon on the battlefield.

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Metezashi: A Warrior’s Right-Hand Blade

During the medieval period in Japan, the equipment that bushi1 (warriors) possessed while heading to the battlefield were both specific and strategic. Along with bearing the weight of armor, they carried many items on their person, for they were trained to be resourceful. Along with the more larger, primarily used weapons, such as the yari (spear) and yumiya (bow & arrow), smaller weapons and tools were kept close for quick deployment in the right situation. A particular weapon that is a good representation of this methodology I’d like to touch upon today is one called metezashi2.

A metezashi is a short bladed weapon liken to a tantō, which nowadays is translated meaning “knife”. It is believed to have been derived from an older weapon called the sasuga3 (dagger). The metezashi came about sometime around the Muromachi period (1336 – 1573), after the Ashikaga clan claimed the shogunate. During this period, the warrior class claimed more power than other social classes, placing more emphasis on controlling territory and their neighbors through military strength. Changes in how large battles were approached were taking place as well, where tactics relying heavily on long range assault were being adjusted to incorporate more upclose melee assaults. Bushi engaged more in skirmishes with medium to close range polearms and swords, with a thirst to test their combative skills. This is where the metezashi comes into play.

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An illustration of a bushi on horseback (calvary), both in full gear. In red, the name “koshigatana (metezashi)” is circled, along with a red arrow showing it carried on the bushi’s right side. From the book “Yoroi wo Matou Hitobito”, published by Yoshikawa Kobunkan in 1857.

By design, the metezashi is a one-handed, single edged weapon, with it’s blade length said to measure under 1 foot. The blade has little to no curve to it, due to its use as a stabbing implement. It is categorized as a koshigatana4, meaning a small bladed weapon carried around the waist. Unlike the tachi5 (battlefield sword) and the wakizashi6 (short sword), the metezashi was worn on the right side of the waist usually inserted into the obi, as it was meant to be used in the right hand. Like its bigger counterparts such as the tachi, it is generally designed with the same koshirae7 (fittings), from an itomaki8 (handle wrap) to a tsuba9 (handguard), although in most cases the tsuka was a smaller, rounder design. The saya10 (sheath) may even have a kurikata11 (small mount with a hole for the sageo12, or cord in English, to pass through), although placed on the right side due to being carried on the right side of the body.

Having such a short reach, the metezashi was primarily used in close quarter combat, as a tool for stabbing. The common scenario to illustrate its use is in the case where 2 armor-cladded warriors have no weapon in hand and are locked in a clinch with each other, struggling to topple one another13. When one of these 2 warriors can get the upper hand and either flank the other off balance, or perform a takedown, he can pull out his metezashi and thrust it into one of the gaps in the opponent’s armor14 for the kill. In other cases, the metezashi could also be used for assisting fellow warriors subduing enemy troops down to the ground to finish them off, such as for claiming an enemy’s head as trophy of battle15.

Example of a koshigatana. Example of a style used up until the Muromachi period. From the book “Nihon no Bijutsu 1”, by Ogasawara Nobuo.
Example of a koshigatana. Described as a “chiisa katana” (short sword) with a hamidashi (jutting outward) tsuba. Represents a style used around the ending of the Edo period. From the book “Nihon no Bijutsu 1”, by Ogasawara Nobuo.
2 examples of koshigatana from museums in Japan. Click on each of the pictures above for descriptions.

In the case where getting into a clinch with the enemy takes place as mentioned above, one has to be careful not to have their weapon in range for the opponent to seize and used against you when carrying it on the waist. For the metezashi, since it was a right-handed weapon, it had to be easy to draw one-handed by the owner, yet not in reach for the opposition to do the same. While it can be worn at one’s back with the tsuka16 (sword hilt) to the right, or on the right hip with the hilt pointing downwards, many sources state that the metezashi was worn handle up directed towards the back of the wielder. This meant that a warrior carrying the metezashi could reach behind his back and easily grab the handle to draw, whereas if the opponent attempted to do the same from that warrior’s front he could be easily stopped.

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Pic of how the metezashi would be worn, for the sake of fighting hand-to-hand while in armor. From the book “Heiho: Tenshin Shoden Katori Shinto ryu”, written by Otake Risuke.

There are a lot of comparisons between the metezashi and another type of koshigatana called yoroi dōshi17. Some sources even state that they are the same, or their names are interchangeable. It may very well be the case, for descriptions in historical sources state that they were both worn on the right side of the body, share similar dimensions, and were primarily for stabbing. It is possible that, based on the time period and/or warrior groups and the region they came from, either name was used for what could be the same type of weapon based on how this type of weapon was used. Case in point, some other names noted to be used for koshigatana of like design includes (but not limited to) the following: kubi kaki18, kubi tori19, and ebirasashi20.

In ending, the metezashi was a vital tool to the bushi. It is a piece of history that gives insight to the creativity and resourcefulness of the Japanese warrior. I hope this post was informative to all as the research was for me.

1) 武士. Bushi is the common word for warrior in Japan. It is a more universal term, more so than the word samurai.

2) 馬手差し. Loosely translates as “(a sword) worn on the side of the horse hand”. This “horse hand” (馬手) is coded as referring to the reins used to control a horse while riding, which is held in the right hand. So the “horse hand” (馬手) is another way of saying the “right hand” (右手). Thus, metezashi can also be translated as “(a sword) worn on the side of the right hand”. The use of “horse hand” is also used in kyudo (archery), referring to the right hand drawing the bowstring.

Note that some English sources, such as Wikipedia, that state that metezashi stands for use with the left hand are incorrect.

3) 刺刀

4) 腰刀

5) 太刀

6) 脇差

7) 拵え

8) 糸巻

9) 鍔

10) 鞘

11) 栗形

12) 下緒

13) This close combat while wearing armor is generally called “kumiuchi” (組打). Some older traditional martial schools still teach this.

14) There are gaps in and around Japanese armor that are vulnerable. This means that bushi were more in danger to weapons that are strong at stabbing and piercing, as opposed to slashes.

15) This practice of taking the head of an enemy warrior is proof of their bravery in battle. The more heads collected the better the rewards.

16) 柄

17) 鎧通し. These are especially renown for having a thicker blade (or in some cases, a thicker spine), which allows it to handle more wear & tear when thrust into the vulnerable areas in armor.

18) 首掻き. This name means “a blade for beheading”.

19) 首取り. Has a similar meaning as kubi kaki (首掻き).

20) 妻手指し. Another coded name having the same meaning for “(a sword) worn on the side of the right hand”, just like metezashi. The characters “妻手” refer to an old measuring tool called “kanejaku”, which is shaped like an “L”. The shorter end of this measuring tool is called “tsumade”, which is identified with the characters “妻手”, and is designed to be used on the right side of the measuring tool pointing downwards.

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Story of the Skillful Archer named Hangaku Gozen

There are a good number of female figures in Japanese history that are hard to come about. From acts of bravery on the battlefield, to power over the mass in political struggles, these female figures do exist in old historical books, which takes a bit of digging to come about. In today’s post, I will focus on one who is known by the name of Hangaku Gozen1.

A artwork of Hangaku Gozen. Labeled “Hangakujo”, from the series “Yoshitoshi no Mushaburui”. By Tsukioka Yoshitoshi. From Wikipedia.

Taking her name from the pages of historical books2, Hangaku Gozen is said to exemplify the image of a warrior, for she survived harsh conditions on the battlefield. She is hailed for her discipline and bravery, along with her skills with the bow and arrow. Often compared to the legendary Tomoe Gozen3, the tale of Hangaku Gozen is illustrated in older books, paintings, and in plays. Nowadays, there are jidai geki (historical drama) and cosplay (aka costume play, where one dresses up as a particular character) of Hangaku Gozen in public events especially in her hometown. Yet, even in modern society of Japan today many have not heard her name nor story. Through this post, I will share Hangaku Gozen’s tale.

HISTORY

The setting for Hangaku Gozen’s story begins in the later years of the Heian period. This period, rich in agriculture, is where the Imperial family, along with those of religious and aristocratic ties, were in the upper tiers in society. Hangaku was born in a prestigious buke (warrior family), bearing the surname Jō4. Having blood ties with the powerful Taira clan, famous for their political and military power, the Jō family was considerably resourceful and influential within the lands in Echigo no Kuni (present day Niigata). While the warrior class was not high in social status at this time as religious and aristocratic groups, they were still feared for their military strength, which is what the Jō family possessed.

Hangaku’s birth year is 1172. She is the daughter to the head of the Jō family, Jō Sukekuni5. Her mother, while name is unknown, is the granddaughter of Kiyohara no Takehira6, who was of a noble family. Hangaku grew up in Sangyōji Castle7, which stood in Okuyama Manor8 (present day Nakajo Town), located in Echigo no Kuni. She is the youngest of 3 children, her siblings being Sukenaga9 (oldest) and Nagamochi10 (middle). She also has a nephew (Sukenaga’s son) named Sukemori11 she grew up with.

GROWING UP

Since the Jō family were well off financially, Hangaku and her siblings received good education, as well as versed in the ways of warfare. Hangaku showed she was exceptionally gifted in both, which her father Sukekuni soon recognized. He ensured that she received the same learning experience akin to her brothers and nephew. Due to her intelligence and talents, it is said that Hangaku was even allowed to manage castle affairs while her father and brothers were away.

Hangaku’s skills in bujutsu (warrior arts) are said to be impressive. While there are no records that go into details regarding her bujutsu studies, one can imagine that, like any warrior during these times in Japan, she was versed in the commonly used weapons and tactics, such as the tachi (sword), yari (spear), bajutsu (horsemanship), jintori (commanding troops) and so forth. In any case, Hangaku was competent enough to take the role as her nephew Sukemori’s guardian, as well as take part in administrative duties at Tossaka Castle12, where he resides. Her diligence and sense of responsibility at such a young age earned her the title “Gozen”, which means “Lady”. Thus the reason she is most recognized as Hangaku Gozen, or “Lady Hangaku”.

TAIRA VS MINAMOTO

Her upbringing coincided with many of the changes that took place within the Jō family. In her mid teens, the Jō family took part in the ongoing struggle between the Taira clan and Minamoto clan that erupted into the Genpei war (1180-1185). Her oldest brother, Sukenaga, participated in the battles as head of the family, while Hangaku and Nagamochi remained at home. Not too long after the war began, Sukenaga passed away suddenly due to illness. Nagamochi replaced his deceased brother and took up arms in the name of Taira. There is no mention of Hangaku entering the battlefield, so it is more than likely that she remained at home to take care of matters there. Her maturity and understanding how to manage castles at a young age prepared her for this.

Nagamochi lead an army to attack Kiso Yoshinaka13 in Yokotagawara, Shinano (present day Nagasaki Prefecture). However, he faced a great defeat and, although fleeing east to Aizu Bange Town (located in present day Fukushima Prefecture) with a small number of soldiers, Nagamochi would later be outbested by his pursuers, and finally captured. Not too long after, the Taira clan faced defeat at the hands of the Minamoto clan which led to their demise. In late 1185, Minamoto no Yoritomo took the seat as shogun, and established the Bakufu, thus beginning the age of the Kamakura period (1185-1333). Losing abit of a foothold in terms of power, Hangaku and her family had to work harder as the ruling force was not in their favor. They were opposed by Wada Munezane14, who was appointed by the new shogun to take over the areas of Okuyama Manor in Echigo. Around this time, Hangaku, in her 20s, had grown into a superb warrior and commander. She protected her homeland leading forces against the troops of Munezane, which not only prolonged the lifeline of the Jō family, but contributed to their reputation and military might.

A postcard, featuring artwork describing a scene from the Kabuki play called “Wada Kassen Onna Maizuru (和田合戦女舞鶴)”. In this scene, called “Hangaku Monyaburi no Ba 板額門破りの場”, a young Hangaku wielding a naginata protects the castle gates from intruders. From “eHagaki“.

Around the same time, Jō Nagamochi, who was still held as a prisoner in the hands of his enemies, was pardoned for his previous actions by Minamoto Yoritomo. In exchange, Nagamochi had to pledge his loyalty. He agreed and became a retainer for the Minamoto clan under the employment of Kajiwara Kagetoki15. His motives were to most likely keep his family safe, for this ceased Wada Munezane’s attacks. Hangaku, along with her nephew Sukemori spent many days in peace as they maintained their household.

LAST STAND

While Nagamochi fought in the name of the Minamoto and entered the battlefield against Ōshu Fujiwara (known as the Battle in Ōshu), he earned merits and trust amongst his new peers. However, he kept his original displeasure for the Minamoto and the Bakufu, and schemed some way to overthrow both. At the start of 1201, after certain events, (including the passing of Yoritomo, with his younger brother Yoriie becoming the new shogun) Nagamochi made his move to try and overthrow the current government. Raising an army of his own, he would storm Heian Kyo (present day Kyoto) to challenge the Bakufu. He even tried to get support from the Emperor, requesting an imperial order in hopes to receive aid to officially rid the Minamoto from power.

Unfortunately, Nagamochi was unable to acquire the imperial order. His plans were shortly thwarted as the Bakufu military charged upon Nagamochi and his army, and were eliminated. This bold and unexpected move did not bode well for the Jō family, as Minamoto Yoriie declared an assault on the Jō family’s home. Sazaki Moritsuna16, one of shogun Yoriie’s commanders, lead a big army in the name of the Bakufu to seize control of Tossaka Castle and eliminate the remaining members of the Jō family.

While Nagamochi served the new government, most likely he was keeping in contact with Hangaku and the others. Although it is not certain whether they knew about his plans to try and overthrow the government, they did get word of his defeat and the impending assault by the government’s army. Having only a few months before the upcoming threat, Hangaku and Sukemori made preparations, each commanding their own force to deal with the threat. When the time came, they made their final stand at the Tossaka Castle, defending their home against the overwhelming military force of the Bakufu.

Sukemori tried to face the opposition, but in the long run pulled out of the fight and fled. With their chances of victory looking grim, Hangaku, as a last resort, climbed up a watchtower. With her bow in hand, she rained down arrows upon the opposing troops, taking out many of them with precise shots. It is here where Hangaku is truly remembered by her valiant actions, as she displayed her prowess with the bow and arrow. Unfortunately, a soldier by the name of Fujisawa no Shiro Kiyochika17 got the upper hand as he made his way up on a mountain behind Tossaka castle, in the blindsight of the watchtower. From there, Kiyochika shot an arrow that pierced both of Hangaku’s legs, which prevented her from standing. Shortly, she was subdued and captured by the remaining troops of Sazaki Moritsuna’s army. Hangaku was kept in captivity, and her wounds attended to before she was taken to Kamakura (present day Kamakura city, Kanagawa Prefecture), home of shogun Yoriie.

NEW LIFE

Once in Kamakura, Hangaku was brought before the presence of the shogun Yoriie. Yoriie and his officials were briefed ahead of time of Hangaku and her feats in battle. On top of that, her being a female commander greatly peaked their interest, for it was not common for women to step onto the battlefield, let alone lead her own troops. It is said as she stood before the shogun, Hangaku showed no fear and faced her captors with conviction and bravery. This shocked and amazed Yoriie, and everyone else present. She was then kept further in captivity, as her faith had yet to be decided.

The next day, Asari Yoichi Yoshitō18, a commander from Kai no Kuni (present day Yamanashi Prefecture) requested an audience with the shogun. Granted, Yoshitō stood before Yoriie and asked permission to take Hangaku as his wife. When asked why, Yoshitō took a liking to her strong qualities, and believed he could start a family that would lead to birthing a son of qualities suitable to serve the shogun. Pleased with the explanation, Yoriie granted him this request, and shortly afterwards Yoshitō took Hangaku as his wife, and they both returned back to his hometown Toyotomi Village, located in Kai no Kuni.

From here on It is said that Hangaku’s days were more peaceful. For example, she accompanied her husband Yoshitō on trips to Akita Prefecture. There, Yoshitō was chief owner of Hinai District. Hangaku also had a child with Yoshitō, who’s name was Tomoyoshi19. With that, here ends her story.

TIDBITS AND MISCELLANEOUS INFORMATION

Below are some points regarding Hangaku Gozen I feel worth mentioning. These will give you an idea how her story has been handled, as well as developed in each passing generation. Note that all Japanese text below are followed by an English translation done by myself.

A page from the book “Azuma Kagami Shiwa”, which references her fight against Sazaki Moritsuna’s army.

① Hangaku is not a common name, for her real name is unknown. It is possible that her name was changed later, possibly to reflect where she comes from. This is difficult to determine, for there isn’t any official documentations found from the Jō family.

② This actually brings to question as to how to pronounce her name correctly. While documented as “Hangaku”, there is an area exactly where she grew up pronounced as “Iizumi”, using the characters “飯角”. These 2 characters are also one of the written variations of her name. It’s possible that this is the correct way to say her name.

③ Over the years, as Hangaku Gozen’s story was portrayed in artworks and plays, what little information about her has expanded. While she is most recognized as a fearless warrior with bow & arrow in hand, she has also been associated with the naginata. For example, in the book “Kamakura Bushi: Bushido no Seika20“, there is a chapter that talks about her strengths. One of the lines goes like so below.

ORIGINAL: “…無双の早業、長刀に薙ぎ拂はれ、近寄るもの傷を受ざるはなく攻めあぐみて見えける…”

TRANSLATION: “…her unmatched speed, (they are) mowed down by her naginata, and her opposition lose sight in their advance as they are unable to harm her upon closing the distance…”

Comments like this create the image that Hangaku rode out into battle not only with the bow & arrow, but also wielding a naginata. Is it possible that this happened in the few battles she participated in, let alone learned how to use a naginata? It is a possibility. However, it is a belief that has no concrete backing. In older Japanese sources such as like “Azuma Kagami”, her using anything other than the bow and arrow is not mentioned. Expanding on an image is not unusual, for as time goes on and as stories about historical figures get passed on to newer generations, certain elements may be added or even changed to make them sound more appealing.

In Hangaku Gozen’s case, her story may have been “enhanced” due to the popularity of ukiyo-e and Kabuki. This is around the 17th century onward, the same time when women started training more with the naginata21.

④ Here’s a popular line from the “Azuma Kagami22“.

ORIGINAL: “この人が女性ではあっても、百発百中の腕があり、男どもを抜いております。”

TRANSLATION: “Although a woman, she possess the ability, like a man, to skillfully hit her target with a bow.”

The key word here is “百発百中” (hyappatsu hyakuchū), which describes being proficient with the bow & arrow by “shooting 100 times and hitting the target 100 times”.

⑤ Here is another line from “Azuma Kagami”. This describes the scene during her final battle defending Tossaka Castle.

ORIGINAL: “子供の用に髪を束ねて、鎧腹巻を着けて、やぐらの上に立って、射られた者で死なぬ者はありませんでした。佐々木盛綱西念の部下が沢山、彼女のために殺されました。”

TRANSLATION: “Standing at the top of the watch tower with her hair tied up like a child, and wearing an armored haramaki, all that were shot by her arrows did not survive. Many of Sazaki Moritsune’s troops were slain in the hands of this woman.”

Hangaku was a serious thorn to the opposition. There was no safe way to get close to her and put a stop to her assault without getting shot down by her bow.

⑥ This line comes from “Azuma Kagami Shiwa23“, when Hangaku is brought before shogun Minamoto no Yoriie.

ORIGINAL: “板額は少しも惡びれた様子もなく…その態度は堂々たる勇士のやうで、体格も立派なものでした。併し顔は殆んど二目と見られない醜女でした。”

TRANSLATION: “Hangaku had a bold presence….she had the manner of a brave warrior, and her physique was excellent. However, she was an ugly woman, for one could not bear to look at her face more than once.”

This is a very different description from how Hangaku is described from her youth all the way to before her final battle. While it sounds harsh at face value, I think it is more of a compliment. To decipher this statement, I believe, is to understand the time period this all takes place.

Considering the times in (pre) medieval Japan, most women stayed at home to raise children. Women of nobility wore fine outfits and kept their features fair and attractive. Hangaku, on the other hand, was trained as a warrior and earned merits roughing it out like most men who take up arms and fight. Women were not expected to don on armor and charge into a battle, nor allowed to. Hangaku is but one of few women who has done so at a time where the warrior class was designated to men. In the last stand of the Jō household, Hangaku tied up her hair, donned on armor, and stood against her opponents valiantly. She had injuries on her as a testament of her role as a warrior. As a captive, who would give her time to freshen up and look their best in front of the shogun?

Hangaku was treated like any other men who was caught by the opposition, and left in a dirty, haggard state. This is quite frankly the true appearance of a warrior, and Hangaku fit the bill.

FINAL WORDS

This concludes this post on Hangaku Gozen. This historical tale has evolved quite a bit in Japan, and may possibly do so more if more exposure about Hangaku appears worldwide. I hope everyone enjoyed reading this, and stay tuned for the next post!

1) The most common way of writing “Hangaku” is 板額. Other ways include 飯額, 飯角, and 坂額. All of these are said to be pronounced as “Hangaku” in Japanese sources. In English sources, especially online, it is said that her name can also be pronounced as “Itagaki”, but this is possibly a mistake in the reading of her name.

2) Keep in mind that historical records around or after the Heian Period were written by the victorious and those in power. Hangaku Gozen and her family’s information comes from the records written by the Minamoto clan, which were their rivals. Some things may have been changed to suit the victors, including names of those who opposed them. This includes Hangaku Gozen.

3) Tomoe Gozen is quite possibly the most renown female warrior from the pages of Japanese literature, as well as dotted upon possibly throughout the world. Tomoe fought on the side of the Minamoto clan as they struggled for power against the Taira clan in the late 12th century.

4) Written as “城”, thus literally means “castle”. In Japanese, this surname is written as “城氏”, with the 2nd character giving indication to this.

5) 城資国

6) 清原武衡

7) 山居寺城. Note that while she was born here, and possibly raised here at an early age, Hangaku and her family moved at some point. It is not stated when this happened.

8) 奥山荘

9) 資永. Also written as 助長.

10) 長茂. Birthname was Sukemochi (助茂), but changed to Nagamochi later after taking position as head of the Jō household after the death of his older brother, Sukenaga. At some point, also used the name “Sukemoto” (助職 or 資職).

11) 資盛, which can also written as 助盛. Sukemochi also had the nickname “Kotarō” (小太郎).

12) 鳥坂城. At times, written as “Torisaka Castle” in English, but this could be in error due to the use of the same name with this pronunciation in other areas in Japan. Jo Sukenaga became owner of Tossaka Castle in 1180, followed by his younger brother Nagamochi around mid 1181.

13) 木曽義仲. He is otherwise known as Minamoto Yoshinaka (源義仲).

14) 和田宗実

15) 梶原景時

16) 佐々木盛綱

17) 藤沢の四郎清親

18) 浅利義遠. Also known as “Yoshinari” (義成).

19) 知義

20) 鎌倉武士 : 武士道の精華. Written by Takai Ranzan (高井蘭山), and published in 1916.

21) You can read more how the naginata developed into a self defense weapon for women in Japan in an earlier post of mine here.

22) 吾妻鏡. This is a compilation of written records (around 52 scrolls, missing the 45th scroll) maintained by the Bakufu, from 1180 to 1266.

22) 吾妻鏡史話. Written by Hagiwara Tokio (萩原時夫), and published in 1936.

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Kuki Archives: Shichiyō

2017-07-20 14.26.21

A snapshot from the website “Kamon World”. The 2 kamon shown are the Shichiyo (on the left), and the Hidari Mitsudomoe (on the right).

It is not uncommon for wealthy families in the past to have a kamon1, or family crest, in Japan. The Kuki family is no different. On the site “Kamon World“, there is a page dedicated to the Kuki Family’s history. On this page are two kamon listed that are associated to them. The one with the 7 black dots is called “Shichiyō2”, which represents 7 illuminating objects in the sky.  The other kamon is called “Hidari Mitsudomoe3”. What do they mean, and how significant are these kamon? For today’s post I will elaborate on the Shichiyō kamon, it’s origin and symbolism, as well as explain its ties to the Kuki family. Please note that, despite the title, there won’t be *much* talk about the Kuki family like my previous posts, but should still be an interesting read.

ASSOCIATION WITH THE SHICHIYŌ

First, let’s look at how the Kuki are tied to the Shichiyō kamon. There are stories that say that Kuki Yoshitaka1, the head of the Kuki clan and navel commander in the company of the fearless Oda Nobunaga during the late 16th century, would sail the seas and have the Shichiyō kamon raised high as his flag. Unlike the Hidari Mitsudomoe kamon which the Kuki house primarily uses to be recognized by, the Shichiyō is specifically associated with Yoshitaka, possibly indicating it’s use was soley by him. What’s the reason behind this? Earlier I mentioned the Shichiyō kamon’s association with 7 illuminating objects in the sky. Could it be that these objects were viewed as stars that one would see at night5? Could this be a symbol of luck while Yoshitaka and his crew sailed the seas at night and be guided safely to their destination? I personally have yet to find any info that states this to be the case. So, what we are left to do is investigate further the true meaning behind the Shichiyō, and its role in history.

Artwork of Kuki Yoshitaka, From Wikipedia.

SOURCE OF ORIGIN

Let’s get a proper definition of what the Shichiyō stands for. Translated, this means “Seven Luminaries”, as labeled in Chinese tradition. Shichiyō represents an ancient way of thought regarding life and its connections with 7 celestial objects high up in the sky. It’s recorded to have first been in use in Japan as early as the 9th century. Before going further with this, it is now important to take several more steps back and look much further into history, and see the roots of its conception. Warning, things get abit complicated due to the amount of references used from here on till close to the end. Just keep in mind that the information presented here on out pertains (either partially or fully) to the Shichiyō, one way or the other.

The idea of Shichiyō is believed to have several sources for its roots. One belief, which is mentioned in a book called “Gendai Koyomi Yomihodoki Jiten6”, is from Judaism, along with Christianity, especially when Christian travelers made their way through Central Asia. Another belief is that it came from the Romans and Greeks, from their concept called the “7 Planets”. Yet another idea is that it is comes from an ancient divination from Hindu called “Shichiyou Joisai Ketsu7”. The last point is a strong, concrete possibility, for this actually had great influence on another way of thought called “Inyo Gogyo Setsu8” developed in ancient China, which also plays as a basis for Shichiyō.

ABOUT INYO GOGYO SETSU

It is recorded that from the Kingdom of Qi (1046 BC – 221 BC) in China, an Onmyoji9 (Taoist priest) by the name of Zōu Yǎn10 (305 BC – 240 BC) developed the ideology called “Inyo Gogyo Setsu”. Looking at Inyo Gogyo Setsu, we must understand that it is the combination of two theories, which are Inyo and Gogyo. Inyo (commonly referred to as Ying Yang) is the belief that life is balanced by being in harmony with 2 forces, which are the In (Ying, dark) and Yo (Yang, light). As an example, this theory states that people have a light and dark side, (which fall under numerous labels such as good and bad, hot and cold, male and female, etc.) and must try never going to the extremes by being more of one side than the other.

The ideology of Gogyo follows a similar path where life and many aspects in our daily lives are related to 5 different elements, which are water, fire, wood, metal, and earth. Each of these elements have particular traits that, as an example, can be found in everyone and professions we specialize in, such as medicine and politics. As a form of checks & balance, the 5 elements can either support each other to “enhance” their benefits, or destroy each other as means to illustrate the death cycle, or military strategy.  Both theories are pretty old and unique in comparison to Western views, although both have made their way into Western culture, if by a small influence. Usually, those who are involved in some form of Asian-related studies or activities have come across both of these ideologies.

An illustration of the solar system. The 5 planets, along with their positioning in relations to the Earth, is pointed out in red.

Taking the concepts of Inyo and Gogyo, Zōu Yǎn redefines them through the symbolic representation of “7 heavenly objects of astronomy”, which consists of the sun (representing the concept of Yo), moon (representing the concept of In), and 5 planets (representing the 5 Elements) visible to the human eyes. These 5 planets, both with their English and Japanese titles, are the following: Kasei (Mars), Suisei (Mercury) Mokusei (Jupiter), Kinsei (Venus), Dosei (Saturn).

It was common in many ancient cultures to attach a sense of divinity to objects for many reasons, such as for the sake of superstition, religious beliefs, or for luck. The same can be said here. Below is part of this philosophy, taken from the book “Reki to Uranai no Kagaku11“.

  •  天地の始め渾沌とした中で明るく軽い気が陽の気とを作り火となる。
  • 暗く重い気が陰の気を作り水となる。
  • 天上では火は太陽となり、
  • 水は月となり、
  • これらが組み合わされて五惑星となる。
  • 地上では火と水から五原素が出来る。

Now, here’s my translation of the above text:

  • The beginning of the sky and earth comes from within chaos in the form of a bright, gentle energy. Becoming light (Yo) energy, it is made into fire.
  • The black, heavy energy becomes dark (In) energy, which then turns into water.
  • The fire that is up in the sky becomes the sun
  • The water becomes the moon
  • When these objects are joined together, they make up the 5 planets.
  • 5 chemical reactions take place when there is fire and water on the surface of the planet

The 5 chemicals are the elements. Each of the planets represent a specific element from the Gogyo, which is the following:

  • Kasei (Mars) = Fire
  • Suisei (Mercury) = Water
  • Mokusei (Jupiter) = Wood
  • Kinsei (Venus) = Metal
  • Dosei (Saturn) = Earth

These 5 planets are but one of many variations of the Gogyo developed in China12. This makes the Shichiyō a Gogyo Shisō13, or a “theoretical way of viewing life based on the Five Elements”. Due to its ties with the 5 elements, it is interrelated with, and can be interchangeable based on context and purpose, with other Gogyo variants.

Now that we have a clearer idea of the Shichiyō’s conception, let’s turn our attention to its arrival in Japan.

APPLICATIONS OF THE SHICHIYŌ

Around early 800s, a Buddhist by the name of Kuukai14 (774 – 835) returned home to Japan after spending some time in China as an envoy for the Emperor. He brought back with him a Chinese text called the Shukuyōkyō15. Within this text are passages on fortune telling through astrology. This contains 2 components, which are the 28 positions of the Constellations, and the 7 Luminaries. These components worked in a pattern that, based on specific factors, (i.e. time, day, direction, etc.) one’s moments of good luck, bad luck, and everything in between can be determined.

Since almost everything from China was viewed with value at the time, the Shukuyōkyō was adapted in the life of the educated, wealthy, and powerful in the growing civilization of Japan. Early written records from the Imperial Court indicate it was used in what is called the “Guchūreki16” during the Heian period (794-1185). The Guchūreki was a year-based almanac in the form of 2 scrolls, each with 3 parts consisting of the following (partial listing):

  • Day (日付)
  • 12 Zodiacs + 5 Elements (干支)
  • 12 Signs of one’s Fortune (十二直)
  • Chants (納音)
  • 24 Stages of Weather (二十四節気)
  • 72 Climates (七十二候)

As one can guess the Guchūreki is very complex, and takes a good amount of practice in order to understand it correctly. Many other forms of almanacs as a source of fortune-telling were created throughout the history of Japan, such as the “Jōkyōreki17“, and “Tsuitachine Getsuyō18“, each with their unique method. Eventually, from the Imperial Court, other groups such as those of religious & esoteric practices (i.e. Buddhism and Mikkyo) adapted this, as well as those of martial and military background. As Japan became more modernized, common people also gained access to this source of fortune-telling as well, through a 1-year daily calendar (more on this later).

An example of the Jōkyōreki. From Wikipedia.

Note that throughout the years since its initial use, the components for learning one’s fortune changed numerous times. These changes became more evident when much more focus was placed on just the Shichiyō, as the next wave of almanacs were steering away from the more complex processes. This is especially evident with the Jōkyōreki, which was developed by Shibukawa Shunkai19 around the late 1684. Much more concise, he refocused the concept of the fortune-telling almanac styled after the methodology of Taiin Taiyō Reki20 (the sun and moon were prioritized for prediction), which was the current trend found in the Chinese almanac called Jujireki21 at the time. The Jōkyōreki was structured around the revolution cycles of the sun and moon, and the seasons in accordance to this. The necessary components of fortune-telling were coordinated with the sun-moon-seasonal cycles,  such as the 5 Elements. Despite its foreign influences, the Jōkyōreki was very much a Japanese invention designed for use in accordance to Japan’s astrological and seasonal conditions.

DAYS OF THE WEEK

Eventually, the Jōkyōreki was replaced22 with a much more user-friendly calendar that incorporated the days of the week.  At some point during the Meiji period (1868-1912), when the Japanese calendar followed suit with other countries and adopted the 7-day week cycle23, the calendar had each day noted systematically with information such as the sun and moon phases, the type of fortune one would have for that particular day, and other related information. The Shichiyō was, conveniently, attached to this calendar, mostly by name. To be more specific, each of the 7 astrological objects were used to name each day of the 7-day week, while the title ‘Shichiyō’ became a reference for this. Today the Shichiyō is still used as an annual calendar in Japan, most containing the present year, the past year, and the next year. It is similar the same way that calendars are used in the West, but with extras.

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Here’s a screen capture of the Japanese calendar on my phone, called “Hi Mekuri”.  Lots of information, including the moon phase, temperature, when both the sun and moon will be visible, and important dates. Different fortunes are also listed based on which fortune-telling method you prefer. For example, according to the “Old Calendar” (the one in purple font), today’s prediction is “senkachi” (前勝). What this means is “anything done during the day will be successful, but if you wait until the evening time it will be doomed for failure”.

ENDING

This sums up the history behind the Shichiyō. As a representation of 7 astrological objects, and used for predicting one’s fortune, the 7 dotted kamon may have been viewed as symbolic for good luck. Whatever the reason it may have been, Kuki Yoshitaka saw value in the Shichiyō kamon. Look out for a future post regarding the Hidari Mitsudomoe kamon, and learn what significance it had for the Kuki family.

1) 家紋

2) 七曜. This is also called Nanatsu Boshi (7つ星), also having the same meaning.

3) 左三つ巴

4) 九鬼嘉隆

5) Interesting, in China there is a phrase called “Hokuto Shichisei” (北斗七星), which refers to the Big Dipper (aka the Plough). Note that this is completely different from the Shichiyō, and that the Shichiyō kamon doesn’t make any references to the Big Dipper.

6) 現代こよみ読み解き事典. This is compiled by Okada Yoshirō.

7) 七曜壌災決

8) 陰陽五行説. Inyo (陰陽) is Ying Yang in Chinese, while Gogyo (五行) is Wu Xing in Chinese.

9) 陰陽師

10) 鄒衍. Pronounced “Sūen” in Japanese.

11) 暦と占いの科学. Written by Nagata Hisashi.

12) Examples of other variants include the following: 5 Tastes (五味), 5 Festivals (五節), 5 Divinities (五神), 5 Organs (五官), 5 Virtues (五德), 5 Directions (五方). It should be stated that, while 5 points of references are in each of these examples, it is not as literal as one would think. Sometimes an extra point of reference is added just to add up to the concept of “5”. For example, 4 Divinities (mythical creatures, well associated with direction or position) is commonplace in Asia, but in the 5 Divinities an “extra” is added, and that extra is different depending on the source. In another case, 4 Directions is commonplace for almost all cultures, but in the 5 Directions one’s starting point (that is, the center or mid point) is added.

13) 五行思想

14) 空海

15) 宿曜経

16) 具注暦

17) 貞享暦

18) 朔日値月曜

19) 渋川春海

20) 太陰太陽暦

21)  授時暦

22)  The Jōkyōreki is now referred to as Kyuureki, or ‘Old Calendar’ (旧暦). It’s added to most calendars in Japan, just as a reference.

23) At one point, A 6-day week calendar was used in Japan.

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Five Hearts of Japan

June was a slow month for writing posts in my blog as many events were going on, such as my daughter’s graduation. I am also on summer vacation with family here in Japan (within Tokyo area), and traveling about visiting different locations almost everyday, which means there is little chance to sit down and focus on some of the entries currently in the works. Instead, I will go a different route and share a small translation of a message I believe has a great influence on the culture of Japan.

In my parents-in-law’s house there is a small sign I’ve always seen whenever I am there to visit. Entitled “Nichijo no Goshin”, this sign is a list of five points essential to being a good person to others. You can look at it like a creed of some sorts. This is quite a common thing to find listed in schools and establishments, as the Nichijo no Goshin promotes a unified acceptance of behavior the Japanese live with over the years. I never thought too much of this sign, as for anyone who studies the language and culture of Japan will most likely come to the conclusion that the message of the Nichijo no Goshin is the norm. On this trip, however, I started thinking about the roots of this, which spurred me to do a quick translation, followed by some few minutes of research.

The Nichijo no Goshin translates as “5 Hearts in one’s Daily Life”. Think of “hearts” as being a person’s feelings, which directly affects the mindset. While the Nichijo no Goshin is well known throughout Japan, it’s origin is abit of a mystery. Seems that it may have originated from someone(s) of a buddhist background, possibly from the Nichiren sect (日蓮宗) or the Soto sect (曹洞宗). While its point of conception is unknown, the Nichijo no Goshin is symbolic in Japanese society regarding how all can live as a good and happy person.

Below is the typed version of Nichijo no Goshin, followed by my translation.

日常の五心

ー、「はい」と云う素直な心

ー、「すみません」と云う反省の心

ー、「わたしがします」と云う奉上の心

ー、「おかげさまで」と云う謙虚な心

ー、「ありがとう」という感謝の心

5 Hearts in one’s Daily Life

· “Yes” is the response of an honest heart

· “I’m sorry” is the response of a remorseful heart

· “I will do it” is the response of an obedient heart

· “I am grateful” is the response of a modest heart

· “Thank you” is the response of an appreciative heart

Let’s go over these 5 points real quick:

  • The 1st point is about responding honestly and truthfully when being addressed. Pretty straightforward…about being straightforward with one’s replies.
  • The 2nd point is about acknowledging when you have done sonething wrong or made a mistake. If one cannot feel remorse or guilt for their wrongdoings, then even if you apologize it will be with empty words.
  • The 3rd point is in regards to taking action and doing your best in tasks given from others. This can be during one’s work, a group you take part in, or even giving a helping hand to one’s parents.
  • The 4th point has a bit of layers to it. Stating this simply, when someone or something interacts with you positively for your well being, you show acknowledgement to that. This can be something as small as someone giving you a hand in finishing an assignment, or pointing you in the right direction when making a delivery. Basically, you are able to make accomplishments, and recognize those who may have contributed to this, whether big or small.
  • The 5th point is being able to show thanks to others. This can be for anything. Simply accepting without showing appreciation may lead to a selfish heart.

I find a lot of value in the Nichijo no Goshin. Although American society has many differences, this is something I would like to bring back with me when I travel home later this month.