It’s the start of the year 2025, so I’ll kick off the first article in the usual pattern and review this year’s Zodiac sign and other related info. According to the Zodiac cycle, the sign for 2025 is the snake. Depending on the culture, impressions on anything snake-related can either be welcomed with open arms or shut out, despite whatever fortunes predicted. Before we get into any deep conversations, let’s take a look at the specifics of the sanke according to the Zodiac system, and its role in daily life in Japan’s past.
Zodiac number: 6th sign
Zodiac character: 巳
Pronunciation: mi
Animal / creature: snake
Direction: south – southeast
Time: between 9 am-11 am or 10 am-12pm
Month: 4th month (according to the old calendar)
Ying/Yang: dark
Element: fire / wood
Normally the kanji used for snake is “蛇”, which is pronounced as “hebi”. However, for the Zodiac sign the kanji “巳” is used in its place. With this, the Zodiac year is called “Hebidoshi” (巳年)¹, or Year of the Snake.
IMPRESSIONS AND FORTUNE OF THE SNAKE SIGN
What is the fortune we are to expect in this year of the snake? Before going forward, let’s first touch on the general image of the snake. Born and raised in the US, one will see that it’s not very favorable. Words such as sneaky, deceitful, dangerous, venomous, and (for those familiar with teachings from the bible) demonic all come from the negative concepts associated to this creature which persists in today’s society, and has varying levels of severity depending on each individual. It can be due to many factors, including bad experiences with them for those who settled here in this country’s infancy. Of course, it’s not all black & white, for there are plenty of people who view the image and qualities of a snake favorably, and may even say they are cool. It is not unusual to see some people have tattoos of snakes on their body…or even goes as far as having them as pets!
How are snakes viewed in Asia? I would say it’s mix bag, with some impressions positive, and others negative. Due to most Asian countries having a longer history, there is a better understanding on how to deal with it, as well as to make use of them in society. When it comes down to superstitions and stories, the snake has its place where it can represent many ideas, from appearing as a mysterious figure, being used as a messenger of deities, to being a god-like being. A unique trait seen in stories is its skin shedding, which at times is viewed as symbolic for undying. Remember this point, as this is closely tied to this year’s fortune.
BEARING FRUIT IS THE KEY TO SUCCESS
In the Zodiac calendar of old, the kanji “巳” is pronounced as “mi”. This character’s original meaning is interpreted similarly to a common character “実” (jitsu), which is “fruits” or “nuts², which are the byproducts of seeds. Through the seed analogy, this Zodiac sign represents the imagry of when a seed has grown fully and is just right to “bear fruit”, which in turn can also mean “earnings”, both literally (for farmers, merchants, etc.) and metaphorically (locals, etc). As a fortune, it is predicted that this sign is effective for increase in earnings and luck.
With the snake now associated with the Zodiac sign, how does its image contribute to auspicious readings in Japan? A snake shedding its old, dead skin and revealing a shiny new one is akin to starting afresh, like getting rid of old baggage tied to failed or missed opportunities, which in turn will attract good luck. Metaphorically, this luck can represent 2 things:
One’s wounds being healed or receiving medical treatment to recover from illness
Having a stroke of luck or blessings, which can lead to great fortune
In accordance to receiving the goodness from what this Zodiac sign is predicted to give, people may wear accessories, carry charms, and the like that bear snake motifs on them.
THE WOODEN SNAKE
Now it’s time to talk about the 10 Heavenly Stems, which is the 2nd half of the Zodiac calendar. The sign that is tied to this year is “乙”, or read as “kinoto”, and is #2 in this system. It’s meaning is “kijimu” in Japanese, which refers to something being ajar or creaking open. Within The 5 Elements and Ying/Yang concept³ , this meaning has a harmonious feeling, where it’s interpreted as grass sprouting from the shadows of a tree, stretching outward and spreading into a flourishing field. Also, The element for kinoto this year is “wood” (木).
Together, the full title of this year is “kinoto-mi” (乙巳) in Japanese. In English, we can read this as “wood-snake”⁴.
PREDICTIONS AND WORDS OF WISDOM
To sum things up, popular key phrases related to this year used in Japan include:
Birth of the new me (新しい自分に生まれ変わる)
Seizing a bright & happy future (幸せな未来をつかむ)
Also, when addressing the full title, “kinoto-mi”, we can interpret it as “displaying the flexibility to adapt through constant revisions or reviving”. Key words that depict this include “vitality” (生命力) and “regeneration” (再生).
Finally, here are a few old sayings from Japan related to both the Zodiac year, as well as the auspicious views regarding snakes.
Hebi no yume wo miru to engi ga yoi (蛇の夢を見ると縁起がよい, if a snake appears in your dreams, it is a good sign)
This is connected to fortune-telling based on a person’s dreams, where good luck or lots of fortune is in one’s future if a snake appears. Take note that this is but one of the many see-a-snake old sayings that exist in Japan, most with the same meaning.
Kaoku ni hebi ga sumu to kanemochi ni naru (家屋に蛇が住むと金持ちになる, when a snake resides in your home, you will become rich)
Not to be taken literally, this saying relates to receiving good luck in the form of a particular snake deity taking residence in one’s home. If we go ahead and apply this saying in a more practical scenario, a snake living under one’s home can mean it will hunt and eat vermin and bugs, such as rats, keeping one’s home pest-free.
Hebi wa take no tsutsu ni irete mo massugu ni naranu (蛇は竹の筒に入れても真っすぐにならぬ, a snake will not be straight even if you put it in a bamboo tube)
This phrase is an interesting one. To keep it simple, things will be as they are by nature, no matter what. If we take a snake for example, it will always bend and curl, even if stuffed in a tube. A better example is how when certain plants or trees grow with a bend in them, it is difficult to naturally straighten them.
Dappi shite motte orochi to naru (脱皮して以て大蛇と成る, when it sheds its old skin will it then become a giant serpent)
The meaning for this is becoming a better person each time the weight of one’s past troubles are “peeled away”. This can also be used in a more positive manner torwards self-improvement, or even advancement in one’s career or craft, where you can become more skilled by always gaining more knowledge and re-innovation.
Hebi ni niramareta kaeru (蛇に睨まれた蛙, a frog whom a snake sets its gaze on)
This refers to when a person encounters an enemy too strong to match. With nowhere to run or hide, fear sets in.
Hebi ni kamarete kuchinawa ni ojiru (蛇に噛まれて朽縄におじる, being bitten by a snake, you are frighten even by a worn-out rope)
For this phrase, the message expressed here is that after a bad experience, you become more cautious to ensure you don’t repeat it. In the example of being bitten by a snake, a person would stop in their tracks the minute they see something similar in shape…such as a mere rope. Note that there is a bit of wordplay in this phrase, where the Japanese word for worn-out rope, “kuchinawa”(朽ち縄), is a play on an old word used for snake, which is pronounced the same way.
CLOSING
Just as the snake sheds its old skin and reveals a fresh new layer, we too have a chance to bring forth our “new” selves in the new year through self-improvement. Here’s hoping that good fortune awaits all uf us in 2025!
1) Can also be pronounced as “Midoshi”, which is the proper way to read this. On the other hand, it is not too unusual to use the appropriate snake kanji and write this year as “蛇年”.
2) By design, snakes had no relations with the original Zodiac character when the Zodiac system was first conceived. However, that changed over time as now “巳” is associated with these slithering creatures. It is even acceptable to read it as “hebi”.
3) Inyō Gogyō setsu (陰陽五行説)
4) Actually, there are 2 elements for this year. Under the 10 Heavenly Stem is the element wood, while under the 12 Zodiac is the element fire. Not sure how it all comes together and when either is referenced, but for the most part I have seen more emphasis on the “wood snake” labeling, so for the time being I will stick with this.
2024 is coming to a close. Being the year of the dragon, there were plans to have much more articles related to the Zodiac animal. Unfortunately, real life events took precedence, keeping me away from writing as much as I had intended. Now that things have slowed down, I have this window of opportunity to put out one(!) article in accordance to the dragon-theme. It’s a nice one.
An imagery of how dragons are affiliated with water. Here, we see water flowing from the mouth of a dragon statue at the shrinte Oguji Jinja (小梳神社), which is used to cleanse oneself before entering. from Photo-AC.
In Asia, dragons are greatly associated with water of all forms, which includes rivers, clouds, and rain. There are all sorts of cultural practices related to old tales of dragons in Japan. One story in particular that will be discussed today is tied to a unique folklore dance called “Gaku Odori”, which is preserved as a cultural practice in Yamaguchi Prefecture. Entitled, “Ryū-Ou Baasan ” (竜王ばあさん, Dragon Lord Grandma), this version of the story¹ gives a superstitious account on how the Gaku Odori came to be, and why it is important to the people. It comes from the following website here.
Below is the full folktale of Ryū-Ou Baasan. To the left is the original Japanese text, along with my English transliteration to the right.
A long time ago, there was an old woman who, residing in a place known as Central Village, was skilled in assisting in child birth.
She was called “Midwife grandma of Central Village”, for no matter how complicated the birth, she was able to resolve the situation and have the baby delivered.
One late night, someone came knocking on the door while she was sleeping.
KNOCK KNOCK, KNOCK KNOCK
Thinking that no one would show up unless there was an emergency with someone in labor, the old woman got up, prepared the necessary supplies, and headed out.
外には、使いの男がいて、
「こんなに遅くにすまんが、一緒に来て下さい」
と、言いました。
「それは良いが、どこの家かいの？」 おばあさんが尋ねると男は、
「ずっと遠くです。案内しますから、足元に気をつけてください」
と、先に立ってどんどん歩いて行きました。
As she opened the door, she met a messenger boy².
“I’m sorry to disturb you so late in the night, but I need you to please come with me,”
He said to her.
“I’d gladly do so…but to which house?” The old woman inquired, in which he answered,
“It’s one that’s very far away. I’ll take you there. Please watch your step,”
With that, they started walking, with the messenger boy taking the lead.
When the old woman came to, she discovered that she was at the Dragon Palace³, (竜宮城, Ryūgūjō), a place that shimmered with lots of precious gold and silver treasures around⁴.
As she looked surprised at her surroundings, the Dragon Lord⁵, ruler of the Dragon Palace, appeared before her.
“I thank you for making such a long trip in the middle of the night to reach here. I wish to make a request, that you assist as a midlady for the princess’ childbirth.”
“The princess⁶ is having a baby now?”
Upon hearing the word “childbirth”, the old woman didn’t pause for a moment to help where she was needed. She hastily went to the princess’ room, and saw before her the princess as pale as a ghost, as she was having labor dystocia⁷.
“Very well. We will proceed with the deliver after administering some medicine,”
The old woman made the necessary preparations, and in due time the princess was successful in giving birth to a baby boy, who looked as cute as a round gemstone.
“Oh, you did it! To show my appreciation for your assistance in the delivery of the princess’ baby, I will grant you whatever you wish.”
Filled with joy, the Dragon Lord had a heap of gold & silver coral ornaments brought before the old woman as a reward. However, the old woman made no movement to accept it.
“What’s wrong, you don’t have any interest in something like this? Please tell me, what is it you want? Say whatever’s on your mind, for I will grant it no matter what it is.”
Hearing this, the old woman’s voice trembled as she responded to the Dragon Lord.
“Okay, I will. Actually, the rice crops in the fields are drying up in my village, as we haven’t had any rain. Dragon Lord, is there any way you can use your power to make it rain for us?”
Moved by her feelings for her fellow villagers, the Dragon Lord accepted her wish.
“From now on, your people must give worship to me, and perform the Harvest Dance (豊年踊り, Hōnen Odori). If followed as so, I will then let forth great rainfall for your fields⁸.”
With all that’s said & done, the old woman left the Dragon Palace and returned back to her village. There, she found the villagers to be in an uproar, as they were out & about looking for her during her absence.
She explained to the villagers what happened while she was away, and the promise that was made to her by the Dragon Lord. Hearing her tale made the villagers very excited.
“If this is so, then we can save out village!”
“Thank you so much, Midwife grandma!”
From this day on, the old woman was then nicknamed “Dragon Lord Grandma” by the villagers.
そしてこの踊りが山口県に今に伝えられる、楽踊り(がくおどり)の始まりだという事です。
Within Yamaguchi Prefecture, the origins of “Gaku Odori” is passed down to present day as coming from this special dance.
To summarize, this folklore refers to showing appreciation for bountiful harvests each year when it rains. The rain is through the auspicious power of a dragon, thus farmers can give praise and worship to divine beings as such…with one method being the Hōnen Odori (豊年踊り), or Harvest Dance. There are many different types of Hōnen Odori still preserved today.
This concludes the final article of 2024, closing on the dragon theme. Wish everyone a happy and prosperous new year!
1) Take note that there are different versions of the story, each with slight variations. This version, as told in Yamaguchi Prefecture, may have been styled in a way to fit local practices there.
2) There may have been an event prior to the messenger boy coming to pick up the old woman. Possibly, one where she had to deliver a baby of spiritual beings posing as human, as a test.
3) Although not mentioned in this story, it is hinted that the old woman may have been carried on the back of a dragon to the Dragon Palace.
4) Where is the Dragon Palace located? A hidden island? Up in the clouds? We have to use our imagination for this one.
5) This divine being is inspired from Buddhism, which tells of a deity beast of the same name. Or, we can go even further and say the idea dates back to Hindu beliefs, which depicts various god-like beings with snake-like bodies.
6) While it’s not mentioned, it’s no secret that the princess is the Dragon Lord’s daughter.
7) There are various reasons for the difficult childbirth. In one version of this story, it is said that the baby complained it was facing the wrong direction, so the old woman had to turn it the right direcion manually. Yes, this is not a typo, the baby told her.
8) The details to performing this special dance was actually explained to the old woman by the Dragon Lord, although it is not stated in this version of the story.
Over the years, I’ve put out a few articles regarding the importance of working on kihon gata (基本形), or basic techniques, for kobudō, as one would have a difficult road proceeding forward without a solid foundation these develop. Now I want to go into a little about kata (形), or forms with preset movements, which are next in the journey of learning a Japanese martial art. Just like basic techniques, one must take the same approach and work hard on what would be the basic for forms, in order to properly learn the methodology of one’s martial system.
A term found in traditional Japanese systems is “honwaza” (本技). What does honwaza mean? This label is used to identify kata that are base forms. Honwaza is used a good deal when working with kata (形), a well known term for forms used in most of Japanese martial arts. Depending on the martial art school, there may be different terms used to identify forms, such as sei (勢), or gyō (業). In the end, they represent the same concept of forms to learn a school’s methodology.
Why are base forms so important? For starters, they are the vehicles for learning one’s selected martial system; from principles, strategies, to techniques, a base form is constructed as the prime instruction for this. Also, base forms are built on the basic techniques one learns at the start of one’s martial journey, so they become another method of refining those core skills, and enhancing one’s overall ability. Of course, if one’s basics are not cemented properly, then base forms will expose this, for you will find difficulties in performing them as instructed.
Along with base forms, there are “variation” forms that accompany them in order flesh out a student’s understanding of their martial system. Falling under specific terms such as henka (変化), ura gata (裏形), sayū jōge (左右上下), and so on, these variations are taught at different stages depending on when students have achieved an adequate understanding of said base forms. These variation forms are necessary for teaching options in specific situations, from utilizing different movements, techniques, and so forth, adding more tools to one’s repetoire. While there is a lot to be taken from these, understand that they do not replace the importance of base forms. For starters, variation forms, while necessary for further instructions in one’s martial system, may not fully “teach” key methodologies or principles clearly without understanding the original. While some variation forms may differ from the base form in simply a few movements or the technique used to defeat one’s opponent, others may change early in the form and use a strategy that veers away a considerable amount from the original. Then there are those cases where the variation form does not resemble the basic form at all.
Let’s take a kata from Kukishin ryu Bōjutsu called “Sashi Ai” as an example. In the base form, after several sequences, when our opponent raises their sword to strike, we react by crouching low and swinging our bō upwards into our opponent’s lower area. There is a lot to unpack here even just by focusing on this simple movement of taking a low profile against a high strike. Now, let’s compare with a similar version of this kata, but instead we step to the side, and lower one’s stance while thrusting the tip of our bō to the opponent’s face. It can be stated that this alternative movement is equally effective as the base form. However, it deviates by using different movements that change certain key elements, such as distance, timing, and positioning. Alternative movements in a kata like so may not utilize core fundamentals that are part of the identity of a martial art, but instead introduce supplemental lessons in the event a situation changes based on the opponent’s movements, thus why this is labeled as a variation form.
In truth, all versions of kata are important, whether it be the base form or a variation. However, since the base form usually represents the identity of a martial system, full details of it, whether in the form of visuals or specific lessons, may be held back. In its place, a variation can be openly presented…which in turn is a strategic decision of its own. Here’s a scenario to which variation forms are chosen over base forms. During a public demonstration, a school may choose to use a variation form with many changes from the original. This keeps the core principles of the martial system safe, not exposing the key components, so those viewers who see just the variation form and choose to copy it won’t be able to steal the most critical points. From another angle, those same viewers could later turn around and openly declare they too have learned a specific martial system in order to draw unsuspecting students by demonstrating the variation form they saw, saying it’s the real deal. Of course, legitimate schools can expose them as lying, revealing them as frauds.
In ending, the idea of honwaza, or base forms, being a key component of one’s growth in martial arts is on the same level as learning, establishing, and refining one’s foundation through fundamental skills. Base forms can be thought of as a form of treasure, which should be preserved even when you have mastered all that there is to learn in the martial system you dedicate yourself to. While there is no love lost for legitimate schools that present only variation form so long as within inner circles they are acknowledged as truly knowing the original, it still holds true the importance of ensuring that base forms are preserved accurately in order to continue being an essential tool for proper learning.
This article can be viewed as an indirect “bonus” chapter of the Tenga Goken series. In part 1, I mentioned in note #4 about an extra sword on the same page of the listing of Tenga Goken in the documentation entitled Meikenden, but wasn’t part of the group. This lone sword is known as Kanze Masamune (観世正宗). In an attempt to give it some shine, this article will cover the history of this sword, from its maker, to its recorded timeline in the hands of renown family lines.
Here are a few of this sword’s official details below.
An image of the bare blade Kanze Masamune. From e-Museum.
Rank: National treasure Type: katana (uchigatana) Signature: not listed / modified Sword line: Sōshū Masamune Blade length: 73.6cm
Currently, Kanze Masamune is in collection of fine works at the Tokyo National Museum.
VALUE OF A MASAMUNE SWORD
In terms of Japanese swords, Kanze Masamune is categorized as a katana in today’s standards. In actuality, it is an uchigatana (打刀) according to the period it was created. This differs from the previous articles, as it is not a tachi (太刀) like the 5 swords of the Tenga Goken. In terms of status and design, this is a big deal, for tachi were considered a weapon bestowed on those warriors with a higher status. An uchigatana, on the other hand, was something most warriors could use. Despite the labeling, This doesn’t take away from the value a well-crafted uchigatana can possess; in fact, there were few lines of this that were sought after & commissioned to outfit certain warlords’ troops during Sengoku period, with one of them being the Muramasa-line of swords.
Focusing on Masamune, what type of swords were these, and who was the forefather of this style? The Masamune-line was established by Okazaki Masamune (岡崎正宗)¹, who was considered a talented swordsmith. This was around the Muromachi period, when power over control of Japan was sought after by powerful individuals, causing warlords and the like to engage in war with each other. Okazaki used different techniques from other smiths to make his swords high quality, durable, and visually appealling. It is said that his methods helped to reinvigorate craftmanship of Japanese swords by utilizing methods to craft otherwise high-quality swords, which drew many smiths to learn from him. Influential figures such as Oda Nobunaga praised Okazaki and his craftsmanship, and went as far as labeling him “best swordsmith of Japan”². Today, Okazaki is famously recognized as one of Japan’s greatest swordsmiths, with swords of the Masamune-line acclaimed as works of art.
Artwork entitled “Katana Kaji Okazaki Goro Masamune” (刀鍛冶岡崎五郎政宗), portraying Masamune Okazaki crafting a sword. From the series “Meiyo Shokunin Tsukushi no Uchi” (名誉職人盡之内). By Utagawa Hiroshige.
Okazaki is recorded to have made tachi, uchigatana (katana), and tantō. However, those that have survived to modern times are those deemed as katana, tantō, and wakizashi. More on this later.
In comparison to the other 5 swords of the Tenga Goken, there really aren’t any amazing stories regarding the Kanze; no tales of it’s omni-potent spiritual powers, no writings regarding how it was battle-tested with great (or tragic) results on the battlefield, no usage in religious rituals or practices. It can be said that, although it’s passed through the hands of prominent families of the ages and is considered a high-quality sword with exquisite craftsmanship, the Kanze is more or less just a sword…and a fine one at that.
KANZE’S TRAITS
Kanze is labeled as being of the Sōshūden³ line of fine swords. A highly reputable line, Masamune acquired many apprentices who would contribute to the fame of the Masamune-style.
Although it is deemed as one of these select Masamune-style swords, when and by whom Kanze was crafted by is unknown. The reason behind this is because it is an ōsuriagemumei (大磨上無銘), which refers to when a sword is shortened by having part of its tang cut off. Usually the maker’s inscription is on the part of the tang that is cut off, which is probably the same reason why the Kanze has none. With this being the case, could it be that it was once the length of a proper tachi? What was the reason behind it being shortened to the length of an uchigatana? As Japan headed into peaceful times brought in during the unification by the Tokugawa Shogunate in the Edo period, many battlefield-designed weapons were shortened to conform to the new, strict rules set by the ruling government. Long war swords known as tachi were targets of this, as many of them were shortened to lengths of the now-common katana, as well as the much shorter wakizashi⁴. For the Kanze, in place of an inscription on the tang are bonji (梵字, sansrit characters) on either side, a dragon, and a sword etched on it. It is thought that these were added after the sword’s length was shortened at a later date.
An interesting point about Kanze is a speculation about it having an alternate name, which is said to be “Mori Masamune” (森正宗). Rumors behind this name include that it was once the propery of a member from a specific Mori line (森家) in either Shinano or Tsuyama, or even owned by someone from the famous Mōri family (毛利家) known for their many merits in battles during the 1500s. While attempts to uncover this were made to verify the name claim, no solid proof has yet to be uncovered.
PIONEERS IN THE NOH WORLD
The name “Kanze” is tied to Nōraku no Kanze Sachika. Kanze was a family line during the Muromachi period who specialized in Yamato sarugaku (大和猿楽), a style of theatrical performance believed to be the roots for today’s Noh theatre. Elevating it from a simple public performance during festivals at temples to an in-house entertainment the elite sought after, this family is considered the “superstars” in the Noh world. The name “Sachiku” was first used by the 7th successor, which in turn became a title inherited by following successors.
Illustrations of various Nōraku (Noh) performances. From “Nōraku Zue – Zenben jō” (能樂圖繪 前編 上), which is part of the 5-volumn series “Nōraku Zue”. By Tsukioka Kōgyo.
It is thought that the sword came into the hands of the Kanze family through Ashikaga Yoshimitsu, the 3rd shogun during the Muromachi Bakufu. This is around the time of when Kanami (観阿弥), or possibly his grandson Zeami (世阿弥), were active, and gained favor from the shogun to the point one or the other was rewarded for their talented performances.
Entertainers of Yamato sarugaku such as the Kanze family fell into a unique position in society, as their dance, storytelling, and the like was considered mystical and captivating. It became natural for their names to reach the ears of powerful individuals, as it became a status to watch & appreciate (and in some cases, to study) their artistic craft. As an example, Oda Nobunaga showed favor to Kanze Nagatoshi (観世長俊) and his son, Kanze Motoyori (元頼). It went as far as where Nobunaga granted Motoyori a shuinjo (朱印状), which is a special decree allowing him safe passage into Nobunaga’s territories.
Kanze Sōsetsu (観世宗節), the 7th head of this illustrious family, didn’t have the same luck. It appears that Sōsetsu, accompanied by his grandson Kuroyuki, struggled with gaining favor from land owners, warlords, and aristocrats. After some hardship, he managed to become an acquaintance of Tokugawa Ieyasu in the late 1500s, which from there he started receiving support. Some years later, the sword was offered as a gift, and became a treasure of the Tokugawa family. It is speculated that Sōsetsu, or possibly Kuroyuki when he became the 9th head of the Kanze family, had done so.
IN THE HANDS OF THE TOKUGAWA
In 1616, the 2nd Tokugawa shogun Tokugawa Hidetada allowed Honda Tadatoki, one of Ieyasu’s faithful and successful retainers, to marry his daughter Senhime. As a wedding gift, Kanze was also given to Tadatoki. However, 10 years later, Tadatoki passed away, which in turn had the sword returned back to the Tokugawa family. After regaining possession of the sword, it was held onto for several years before it was given to Matsudaira Mitsunaga on the day of his coming of age (becoming an adult) in 1629.
There was an occassion around 1663 when Ōmura Jizaemon Kaboku, who worked for the Matsudaira family from Echigo Takada Domain, was given the opportunity to inspect Kanze, along with other highly valued swords such as Dōjigiri Yasutsuna. Known for his profession as a doctor, he was also a sword maker. With this background, he was able to write detailed descriptions in a reference book called “Kentō Hihō” (剣刀秘宝).
An image of a type of hankin, a currency made out of gold. From Wikipedia.
Sometime in 1663, Mitsunaga would give Kanze to Tokugawa Iemitsu as a gift. In return, Iemitsu gave Mitsunaga around 400 special rectangle-shaped gold coins called “hankin” (判金), a currency used from the Edo period to the Meiji period. From this point on, Kanze would remain in the collection of the Tokugawa Shogunate as it was passed down from one sibling or generation to another. This continued up until the late 1800s, where it’s believed that the 15th Shogun Tokugawa Yoshinobu gave this sword to Prince Arisugawa Taruhito (有栖川宮熾仁親王)⁵. Being the 9th head of one of four prestigious family branches eligible to ascend the Imperial throne, Taruhito had an illustrious career as a military man of the Imperial army. At some point later, it is said that Kanze would be inherited by the Takamatsu-no-miya, a branch of the Imperial family⁶.
A PIECE OF A MUSEUM
Kanze would eventually be purchased by the “Bunkazai Hogo Iinkai” (文化財保護委員会, National Commission for Protection of Cultural Properties) in 1957. In 1979, it was deemed as a national treasure. A few years later, in May of 1961, Kanze was up for display in a special exhibit called “Masamune to sono Ichimon”, held at Ginza Matsuya. Prince Nobuhito of the Takamatsu-no-miya, the family whom had this sword last, went to attend the exhibition. When Prince Nobuhito happened to see Kanze, he spoke good about it, as if he was reunited with an old acquaintance.
From 1961 onward, Kanze is in the safe keeping amongst the collection of the Tokyo National Museum, where it is up for display.
ENDING
Kanze Masamune does not have an elaborate back story like those of the Tenga Goken. This is not unusual, for there are numerous swords in existence, both old and new, that were crafted for fulfilling tangible purposes, such as being works of art. Despite that, this sword is a product of the renown Masamune-style of craftsmanship, and was evaluated to be of quality wothry to grace the same page as the 5 great swords of Japan.
The page in the Meikenden (left) listing the 5 swords of the Tenga Goken (red dot above each one). To the far left of these is Kanze Masamune, indicated by the single red line.
1) Also known as “Gorō Nyūdo Masamune” (五郎入道正宗)
2) Read as “Tenka ichi no tōkō” (天下一の刀工) in Japanese
3) Sōshuuden means the smithing methods from notable swordsmiths from the eastern area in Japan known as Sōshū (相州), or also called Sagami-no-kuni (相模国). This area is present-day Kanagawa Prefecture.
4) Wakizashi are longer than tantō, but shorter than katana
5) While the idea of the Imperial line being of a single family is not far-fetched, in truth successors are occassionally chosen from specific family lineages that were established as parallel lines. These family lines are knonw as seshu shinnoke (世襲親王家). These four families are the following:
Arisugawa-no-miya (Taruhito’s family line)
Fushimi-no-miya
Katsura-no-miya
Kanin-no-miya
6) Takamatsu-no-miya was the new name for the Arisugawa-no-miya branch in early 1900s, after no male heirs were produced
It’s been suddenly quiet on my blog. I want to apologize for that. It’s time to make an announcement that I will be moving from New York City. It’s been quite a process getting ready for this, for the last couple of months I was preoccupied with preparing my home to be put on the market. My family and I handled most of the renovations ourselves, including making repairs where needed, and painting all area (i.e. ceilings, walls & doors). These preparations had taken a toll both physically and mentally, which impacted my time and drive to write articles. I will officially be out of NYC at the end of the month.
As one would expect, this means some changes will happen. For starters, my training group will have to discontinue for some time as my students will not be moving with me. There won’t be any updates on our training (i.e. scheduling, pics, etc.) until I can (possibly) find new people who are interested. However, this doesn’t mean that my training in kobudo and martial arts as a whole, is done. I’ve viewed the “Chikushin” name as a brand, to represent not just my martial arts training, but my involvement in Japanese language and culture. So, I will continue to represent this in some form, which I am exploring various options.
As for my blog, nothing much will change…albeit the unplanned dry spell from September up to now. While there are a few articles and translations I’ve been working on, they aren’t quite finished due to all the preparations going into having my place ready for sale and such. There is a quiet spell at the moment, so I will use this to have my latest article ready and release it within the following week. There’s still plenty of topics I have lined up to write and share with the public, so it’s just a mater of time before I can get back on the ball and resume my passion.
Again, I apologize for the late announcement and being away for some time. For those who enjoy my content, just be patient a little longer, as I will be back on my feet real soon.
Today we will look at the last sword from the Tenga Goken, which is named Ōdenta Mitsuyo (大典太光世). Like the other swords in this prestigious category, it has its own fair share of claims and stories that elevate it to a level of excellency, with plenty of auspicious beliefs behind it. To start, let’s examine its details.
Image of the Ōdenta Mitsuyo, just the blade itself with no swrd handle or sheath. From the website “Touken World“.
Status: national treasure
Maker: Mitsuyo
Signature: Mitsuyo-saku (crafted by Mitsuyo)
Blade length: 66 cm
Blade curve: 2.7 cm
Base of the blade: 3.5 cm
Blade tip: 2.5 cm
The Ōdenta is deemed as a national treasure of Japan. Through an acculmination of stories attached to it, this sword has qualities similar to the other swords of the Tenga Goken. For example, at an early time its worth was understood, and was in the possession of elite individuals. On top of this, it fell into the safekeep of one prestigious family exclusively for many centuries, whom valued it on the level of a lucky charm. This attention to its worth is based on certain factors over the course of history. Unlike the others, the Ōdenta Mitsuyo was actually crafted as a pair to another sword, which makes it unique in the Tenga Goken. These and more will be explored throughout this article.
To this day, the Ōdenta Mitsuyo is part of the remaining collection of the Maeda family, who have held onto this sword the longest.
MITSUYO THE MIIKE SWORDSMITH
Ōdenta Mitsuyo, or Ōdenta for short from here on forward, was crafted by a swordsmith known as Mitsuyo. Living around late Heian period, Mitsuyo resided in Miike, Chikugo Country. Based on his geography, he was part of the Miike smith group, who were respected sword makers during the Heian period. Mitsuyo was known under other titles, including the nickname “Denta”¹, and a Buddhist name generally pronounced as “Genshin” (元真). Speaking of which, this Denta nickname was one that was passed down in Mitsuyo’s family line, but each iteration used different kanji. For example Mitsuyo is recorded to be 1st generation, and used the kanji “典太”. Other use cases includes “傳太”,The 2nd generation used “伝多”, the 3rd generation used “伝田”. Due to this, it is not unusual to see Ōdenta written with any of those versions of those kanji both in documents and online.
Regarding his works, Mitsuyo is recognized as crafting about 3 swords that are in existence today. This doesn’t mean these are all that he made, but they are the ones in which historians can give direct credit to. Interestingly, 2 of those swords were paired as “sibling” swords. The longest of the 2 is called “Ōdenta” (大典太), and the shorter one is called “Kodenta” (小典太)². The meaning of both names are very simple, as Ōdenta can be read as “Big Denta”, while kodenta can be read as “Little Denta”. Why were they named as so? There are some speculations, such as the Ōdenta having a larger curve than the Kodenta, as well as following the same naming convention of adding “Ō” (大) at the front like other swords at that time such as Ōkanehira (大包平).
If you haven’t guessed, the names Ōdenta and Kodenta were inspired from Mitsuyo’s nickname. While popularly known as “Ōdenta”, the other name used to identify this sword is “Miike Ōdenta Mitsuyo” (三池典太光世).
IN THE HANDS OF POWERFUL FIGURES
Like with most swords that were valued as exquite treasures, the Ashikaga family gained possession of Ōdenta³. There is no specific details as to when and how they acquired it, except for a rumor (more on this in another section below). Later, the 15th Ashikaga shogun, Ashikaga Yoshiaki (足利義昭) presented it, along with 2 other swords, Onimaru Kunitsuna and Futatsumei Norimune, to Toyotomi Hideyoshi. Hideyoshi was awarded many things from elite individuals, but not necessarily did he keep them. As mentioned in a previous article, the Onimaru was one of such items he didn’t keep close by within his possession due to negative superstition. However, in the case of the Ōdenta, Hideyoshi kept it within his family line, even past his own death. While it did stay in the possession of the Toyotomi family until their defeat to Tokugawa Ieyasu and the Eastern force, eventually it was given to Maeda Toshiie (前田利家) of the prestigious Maeda family of Kaga Domain. This parting wasn’t a mere distribution in the form of a gift, but more of cementing an ongoing association between the Ōdenta and Toshiie, for there were several incidents between the two, with the following being the first.
One day, a sickly Toyotomi Hideyoshi conversed with a few of his loyal retainers who had gathered at Ōsaka Castle, including Maeda Toshiie. He told them a spooky tale that took place late night in the castle, while walking through the hallway of the Senjojiki (千畳敷, a large structure with many rooms famed for having around 1000 tatatmi mats). Hideyoshi heard someone was in front of him, but couldn’t see who it was. He motioned to draw his sword as he shouted for that person to reveal themself, but after a few moments, he quickly withdrew, worried that there was something haunting the hallway.
An artwork depicting Maeda Toshiie. Artist is unknown. From Wikipedia.
After hearing this tale, Toshiie refuted it, saying that such a thing was silly. In fact, he was bold enough to say he was willing to go and see if there was truly something down there. To test his conviction, he was instructed to retrieve a gunsen (軍扇), or a commander’s war fan, that was placed further down in the passageway. In a move to ensure his vassal’s safety, Hideyoshi handed the Ōdenta to Toshiie as an aid in his task. With this legendary sword hanging on his waist, he traveled down into the passageway, and fulfilled his task with nothing out of the ordinary happening.
After this incident, it seemed like Toshiie took a liking to the Ōdenta. There would be 3 more interactions with this great sword before he acquired full ownership. Taking its existence seriously, Toshiie kept it within his family’s own personal collection. In fact, he regarded it as a special treasure within the Maeda family line out of the many items they’ve collected, alongside two other acquired weapons crafted by Sanjō Munechika, which are a shorter sword and the acclaimed naginata of Shizuka Gozen⁴.
KEEPSAKE OF THE MAEDA FAMILY
Before going on, it’s worth mentioning that much of the Ōdenta’s story comes from the Maeda family. Out of all its owners, the Maeda have the most interaction with it. Other sources include “Kyōhō Meibutsucho” (享保名物帳), along with more modern publications such as “Tōkendan” (刀剣談) and “Karakizuihitsu” (嘉良喜隨筆).
It is said that Toshiie held high value of the Ōdenta. After his death a year later in 1599, it remained in the Maeda family as a memento to him. Years later, in 1669, a representative of the Maeda family made a request to the reputable sword evaluator Honami Kōho (本阿弥光甫) to have new fittings made for the Ōdenta to uplift its appearance. The style of fittings requested was the Onimaru-koshirae (鬼丸拵), which consisted of brownish color hide wrapped entwined with golden color thread wrappings, and a swordguard painted black. Kōho took on the request and did just so. Along with this, he changed the signia on the swords’ habaki and menuki from the kirimon (桐紋)⁵ motif to the Maeda family’s umebachimon (梅鉢紋) motif.
An image of the umebachimon, the family crest of the Maeda
An interesting practice of the Maeda family was using the Ōdenta as a mamorigatana (守刀), or guardian sword in English. Introduced by Toshiie himself, there are several cases where he placed the sword next to family members as a way to heal or bestow good fortune on them. This is primarily due to the belief that this very sword had some form of divine power. As an example, Maeda Tsunanori had the Ōdenta designated as a guardian sword for his 3rd son named Hisamaru, born in 1689. This child was the product between him and his conbuine, Mirui (美類), or popularly known as Horinin (法林院). Unfortunately, Hisamaru died later within the same year.
As a whole, the Maeda family fully trusted in the spiritual powers of the Ōdenta. It should be mentioned that this practice wasn’t unusual in Japan, considering how superstition played a significant role culturaly. Also, this special level of trust wasn’t solely reserved for Ōdenta; the Maeda family had other treasures they believed to have strong spiritual powers as well, and utilized them in the same fashion⁶.
TIME’S CHANGED, BUT CLASSIC SWORD REMAINS
Over the generations, the Maeda family had amassed a great number of swords. The count was about 36. This was following a tradition of sword-collecting, which was started by Maeda Toshiie. However, it just so happened that the 15th head, Maeda Toshinari (前田利為), had no interest in this tradition. Being the early 1900s, the old ways of samurai and swords were a thing of the past, while society was moving progressively towards business and commerce. Instead, Toshinari was more interested in establishing a literature foundation. To acquire funding for this, he had 33 swords from their collection sold. Surprisingly, only 3 swords were kept, which were the Tomitagyo (富田郷), Tarōsaku Masamune (太郎作正宗), and Ōdenta.
Japan was rapidly modernizing, yet some old rules still held. The Maeda family continued to hold on to their high status earned centuries ago since Toshiie was a daimyo, and still had a level of influence. July 8th of 1910, the Meiji Emperor took a royal visit to the Maeda’s former mansion, Marquis of Maeda (前田侯爵邸, Maeda Kōshakutei ) in Tokyo. During this royal visit, several of their aniquated treasures were presented for their visitor’s delight. This included the Ōdenta, amongst other swords. The Emperor took great pleasure in seeing this famous sword, for despite the change in times, there was still an appreciation in classical swords.
Pics of Marquis of Maeda (前田侯爵邸), former estate of the Maeda family. From Photo-AC.
Its value would finally get its recognition on a national level, for the Ōdenta was appointed as an important cultural asset in June 28th of 1956. On February 19th of the following year, it was then deemed as a national treasure. While it has been elevated to such a prestigious level of worth, the Ōdenta remains in the safe keeping of the Maeda family, as it is kept in the Maeda Kutokukai Foundation (前田育徳会, Maeda Kutokukai).
WONDERS OF ŌDENTA
The following are accounts regarding the Ōdenta. While the main source can be considered documentations from the Maeda family, there are others that kept detailed records on this acclaimed sword. This includes the Toyotomi family, and the Honami family.
The follow pages are from 2 resources. To the left, a page from “Maeda-ke Meibutsu narabi ni Osashiryo Ongatana wakizashi” (前田家名物並御指料御刀脇指) about Ōdenta, including when it received Onimaru koshirae by Honami Kōho. To the right, a page from the 5th volume of “Kaga-han Shiryō” (加賀藩史料 第5編), which mentions certain key details about Ōdenta being used as a guardian sword in different occasions.
#1 PROPERTY OF KUSUNOKI
It is claimed by the Maeda family that Ōdenta was once owned by Kusunoki Masashige, one of Japan’s legendary warriors and highly decorated military strategist. Active during the early 1300s in the Nanbokucho period, Masanari took part in warfare as a large supporter of Emperor Godaigo, assisting in successful battles including those against the opposing Ashikaga shogunate. Unfortunately, he met his defeat at the battle of Minatogawa by the Ashikaga and their allies in 1336. Outmatched, he was killed within the same year.
Apparently, Masashige had Ōdenta in his possession, although it is not explained if it was with him during his last battle, or if it was in his castle. It is thought that from his death is when the Ashikaga were able to obtain the sword. There appears to be no other source other than what is documented by the Maeda family on this, making it hard to validate this as truth.
#2: TAMESHIGIRI
On August 19th of 1792, a tameshigiri event took place at Kozukahara prison in Senju, Edo (present day Arakawa Ward, Tōkyō)⁷. The tameshigiri was conducted on criminals sentenced to death, which was used as an opportunity to also pressure test specific swords’ sharpness and durability. Ōdenta was one of these swords⁸, which was tasked to the well-versed sword tester by the name of Yamada Asaemon⁹. Having a good number of dead criminals’ bodies, Asaemon swung Ōdenta in 4 different cutting scenarios, with the last one testing its cutting strength on 3 bodies.
It is reported that the Ōdenta did fairly well in the first 3 cutting tests, which included cutting through a torso, stomach, and chest. The 4th test didn’t go as expected, for against 3 bodies piled on the ground, the Ōdenta was only able to cut through the top 2, but got stuck on the 3rd body’s pelvis bone.
#3 THE 3 “BORROWS”
Previously, it was stated that 3 other incidents took place before Toshiie received Ōdenta from Hideyoshi. While the first interaction for Toshiie was from having it lent to him, these next three were from him and his family requesting to borrow the sword for the sake of saving certain relatives. In these 3 cases, the Ōdenta wasn’t used to physically cut down would-be assailants, but to ward off “illnesses” that haunted members of the Maeda family at different times.
・Gōhime’s unknonw illness
In 1574, Maeda Toshiie’s 4th daughter, Gōhime, was taken in as Hideyoshi Toyotomi’s adopted daughter. With her status, she was able to marry Ukita Hideie, a young lord of a prominent family from Bizen Country (present day southeastern part of Okayama Prefecture).
At one point during her period of giving child birth, Gōhime’s health deteriorated to the point where she became sickly. After evaluating her condition, Hideie was informed that she was being cursed by an evil fox spirit. The help of priests from an Inari Shrine, where fox spirits are worshipped, was seeked to exorcise this evil fox spirit, but were not able to remove this ailment.
News of her condition reached Toyotomi all the way in Osaka. Infuriated, Toyotomi made a decree that all foxes in Japan must be hunted and eliminated if there was no means to rid this evil fox spirit. He also had a message written and sent to these Inari Shrines.
It is rumored that to resolve Gōhime’s ordeal, Toshiie borrowed Ōdenta and had it delivered to her residence in Bizen Country¹⁰. It was kept in a room next to where she was bedridden. After a few days, she miraculously recovered from her poor condition.
・Maahime’s grave illness
The second case where Toshiie borrowed the Ōdenta was when his 3rd daughter, Maahime¹¹, was ill. At the time, Maahime was bewedded to a court noble named Madenokouji Atsufusa (万里小路 充房). It is said that Toshiie received permission to borrow the Ōdenta and had it delivered to his sick daughter, where it was placed beside her pillow with hopes that it would heal her in the same way Gōhime was saved.
Unfortunately, the Ōdenta didn’t demonstrate the same miraculous power, for Maahime didn’t get better and passed away. Having failed, Toshiie returned the sword back to the Toyotomi family¹².
・ Treating the Shogun’s daughter’s illness
The 3rd case involved Toshitsune, the 3rd successor of the Maeda family. Toshitsune’s wife, Tamahime, was diagnosed as having an unusual illness, which, to some, was caused by a vile aura. Around this time, the Ōdenta was property of the Tokugawa shogunate, due to Tokugawa Ieyasu’s success in defeating the Toyotomi family and confiscating their possessions. It also so happened that Tamahime was the daughter of the 2nd generation Tokugawa shogunate, Tokugawa Hidetada. With this connection, Toshitsune was able to get permission to borrow the Ōdenta and cleanse Tamahime of this bad aura by keeping it by her bedside. In record time, she was cured.
After this case, the Maeda family were allowed to keep the Ōdenta due to their frequent requests to borrow it.
#4: SCARING THE CROWS AWAY
There’s another story of the Ōdenta’s acclaimed spiritual properties. In 1583, Toshiie was given the responsibility of managing Hideyoshi’s recently acquired Kanazawa castle in Kaga Country. At some point over the years, this castle had a reputation of attracting crows, which would perch on rooftops. What attracted these crows was not known, nor was a viable solution to drive them away discovered.
In around 1601, Maeda Toshitsune was allowed to bring the Ōdenta into safekeeping within Kanazawa Castle’s storage vault known as Takigi no Maru (薪の丸). In the same year, he also acquired Shizuka Gozen’s naginata through marraige with Tokugawa Hidetada’s daughter, Tamahime. Viewed as an equally valuable piece, this naginata was also kept within the same storage vault. After both treasured weapons were placed there, the crows suddenly stopped perching on top of the castle. It is thought that the Ōdenta (and in some circles of critics, Shizuka Gozen’s naginata) had some special power within it to drive the crows away. Through this episode, Kanazawa castle gained the nickname:
“烏とまらずの蔵”
Which translates to “vault where no crows land on”¹³.
Is this just a case of coincidence? No one can say for sure.
ENDING
Here we come to an end with the history and stories about the Odenta. While there isn’t any real concrete info on it being used on the battlefield, it is amazing to see how individuals like the Maeda family placed great fate in a sword to provide luck, grant safety and cure any illnesses. Whether the newest generation have the same fate or not, it doesn’t seem like they will be parting from the Odenta any time soon. This also closes out the series on the Tenga Goken.
1) It can also pronounced as “Tenta”. This includes all other versions of this nickname, as well as the paired swords (Ōtenta and Kotenta)…although popular way is with the “d” sound.
2) In this case, they are not daisho (大小, long sword and short sword), as both swords are considered long swords.
3) What ever happened to the Kodenta? how did it get separated from its bigger sibling? Did it truly exist? There is one rumor that the Maeda family are in possession of it, possibly acquiring it at a later date. However, this has yet to be proven, as it is not in their records of swords they’ve collected over the centuries.
4) This is claimed by the Maeda family, but not necessarily proven. Also, there are others that claim to have the naginata used by Shizuka Gozen as well.
5) While the kirimon was used by the Imperial family, Take note that there were other versions of it, which were used by other powerful families such as the Ashikaga and the Toyotomi. While not specific, it’s possible that the version of this kirimon belonged to either the Ashikaga or the Toyotomi.
6) An example of this involves Shizuka Gozen’s naginata, which was kept in women’s chambers of the Maeda’s home in Kaga Domain. The belief here is that it would bestow luck and protection due to its association with a famous female warrior.
7) Around this time, Kozukahara prison became part of Senjushuku, which was an execution ground controlled by the Tokugawa Shogunate.
8) The term for this is “gotameshi goyō” (御様御用). This also means “executioner”, which was also his appointed profession at the prison.
9) In the actual records of tameshigiri accounts, it didn’t mention this sword by the usual “Ōdenta” title. Instead, there was “Miike Gotō” (三池御刀, the renown sword from Miike) written there. This was possibly a shorthand, as it’s also addressed with “Miike” in its title.
10) There is another version written by Honami Kōzan. In it is stated that Shizuka Gozen’s naginata was used to heal Gōhime, for Toshiie was not able to get permission from Hideyoshi to borrow the Ōdenta.
11) Another commonly used formal title by her in her teens onward was “Kaga-dono”, which translates to something like “Madame Kaga”. However, we can consider this nickname passed down to other women within the Maeda family over the gnerations, for Maahime wasn’t the only one recorded to have used it. This may have been her distinguished title from around her mid-late teens.
12) It seems that there is a discrepency with the recording of this event, raising questions as to whether this even happened while Toyotomi Hideyoshi was still alive, and if Maeda Toshiie truly requested to borrow Ōdenta directly from him. In the end, it appears that Maahime died in 1605, which is over a decade after the passing of Hideyoshi. From a surviving document, it’s recorded that Ōdenta was still in the possession of the Toyotomi family even after Hideyoshi’s death, so it is thought that Toshiie got permission from some member of the Toyotomi household.
13) There has been a bit of back & forth in regards to how to properly read this. It has to do with whether the 1st kanji in the nickname is “鳥” (bird) or “烏” (crow). The difference between the 2 is there is one extra horizontal line in the bird kanji. Some researchers who reviewed the original documentation thought that the kanji in question had that one extra line, thus it was supposed to be read as “bird”. However, there are those researchers who believe that it’s actually the crow kanji , reasoning that it fits better the narration, and that there may have been a deviation in how it was written, causing an error. It is not unusual for such errors to appear in old documents, making this speculation feasible. For the most part, there is more of a lean towards the idea that this statement uses the crow kanji.
Over the generations, there has been many titles used to represent swordsmanship in Japan. Some terms are used to define sword fighting, while others may be specific to a particular approach to using a sword in combat. Then there are those that are era-specific, as well as few that are unique labels designed for a type of sword.
Here’s a comprehensive list of labels used to indicate swordsmanship throughout the history of Japan, in no particular order. The descriptions for each are not just from an online dictionary, but also are based on my understanding through encountering them from my martial arts studies, research projects, linguistic interpretations, and so on.
Kenjutsu (剣術) the most commonly known label today, as well as widely used both in Japan and around the world. It is a standard name for “sword techniques”, “swordplay”, and “sword art”. While almost everyone will use this term to refer to Japanese swordfighting, this doesn’t mean that it is the oldest, nor the first term used. When you use the term kenjutsu, most will associate it to the katana, but fundamentally this term refers to all types of bladed weapons. Also note that the katana became the standard used from the Edo period onward, as it originated from the uchigatana (打刀).
Why “kenjutsu”? Looking at it from a linguist viewpoint, the word “ken” (剣) generally inplies a double-edged sword. The origin of this name is thought to come from ancient times, and stems from Chinese influences that had played a large role in the development of Japan. In China, single-edged swords were identified by the kanji “刀”, while double-edged swords were identified by the kanji “剣”. While earlier discoveries from researchers point out that Japan did use double-edged swords in their infancy, the term kenjutsu was eventually used indiscrimanently as time went on, which is even more evident when single-edged swords became the norm for Japanese warriors.
It should be noted that attempts were made to “correct” this by those who wanted to properly define this evolution with the preferred “刀” kanji during the Edo period. However, in the end, they failed to sway the majority to give up the use of “剣”, thus why kenjutsu (剣術) remains as a mainstay even today.
Gekitō (撃刀) A label I’ve just recently come across, it is said to be very old, and one of the earliest words to describe sword fighting. From what I am able to gather, this term was found in the “Nihon Shoki” (日本書紀), one of Japan’s oldest texts on classical Japanese history completed in the year 720 during the Nara period.
Can this really be stated as a term for swordsmanship? On one hand, this could be the case considering how old the word is, and how many unique words & dialects existed in the past when Japan was not unified. On the other hand, this may have been a generic label used to describe fighting with a sword at that time, before military families, strategists, and martial experts alike made strives to establish a more uniformed methodology. In any event, gekitō is not a word used to describe swordsmanship in this form nowadays.
Kenpō (剣法) This term is very similar to kenjutsu. At times, it may be used interchangably on a general, definition level. While I can’t say which one came first, there is evidence of kenpō being used as early as the Heian period (794 – 1185). While it tends to have the same meaning as kenjutsu in most usages, some may use it to refer to a more deeper, tactical approach to understanding sword methodology.
As an example, the text “Kenpō Hiketsu” (剣法秘訣) is considered a rare, classical documentation on the topic of sword fighting. In it are many tips, advices, and insight on topics such as taking advantage of certain aspects of a sword, certain scenarios when facing off against an opponent of different sizes, how to step, thrusting vs striking, using kiai (気合, spirited shouting), and so on. This is different from how kenjutsu is interpreted, which is normally for actual sword techniques that involve cutting, thrusting, and blocking. At the end of the day, how kenpō is interpreted in its entirety is still based on the martial system.
Kendō (剣道) the modern adaptation of Japanese swordplay, so to speak. It represents a new vision and direction to preserving Japanese sword fighting that came into fruition around the mid-late 1800s. A far departure from wielding a live blade and fighing on a battlefield or engaging with an opponent in mortal combat, practicioners of kendō participate in competitive matches with split bamboo swords called a shinai (竹刀), while for solo practices a wooden oak sword called bokken (木剣)¹ is an option.
The term kendō does more than signify sword fighting; it represents a departure from the old ways of training to kill, and gives way to a more straight forward, physically-intensive approach that conditions one’s physical body through rigourous training, steeling the mental, and tempering the spirit. The results can be seen in competitive matches held all over the world. Highlights of this system includes a large emphasis on thrusting techniques, and quick strikes to the upper body. For participants to stay safe, they wear bōgu (防具), or protective gear, which includes a head gear, chest protection, and wrist guards. Of course, these vastly differ from more traditionally-focused schools, from the design of the sword, types of cuts, areas on the body that can be targeted, and overall strategies.
One can say that that kendō directly has its roots in classical swordfighting, which is true for the most part. For the sake of argument, it is an evolved form of Japanese swordfighting for modern times. Kendō does originate from a previous system called gekiken, which represented a much more aggressive approach similar to real fighting. More on this below.
Gekiken/Gekken (擊剣) This is considered the predecessor of kendō. Developed around mid Edo period, gekiken came around the time when martial artists needed a means to keep their fighting edge alive due to no more wars, as well a safer means to train 1-on-1 rigorously without killing each other. This also developed into a means for different schools to challenge and competitively engage without any reprocussions of starting a feud. Of course, this assumption can be superficial at times.
For starters, shinken (真剣, live steel swords) were not used. Instead, shinai were used for engagements, which is the same as in kendō. However, bokken were also used by some groups; while less dangerous than metal swords, a person could still suffer severe injuries from heavy strikes by a bokken…and in the worst case scenario, be killed. Next are the protective gear associated with gekiken. Unlike kendō, practitioners would don more pieces of these when participating in gekiken, which included a head gear, chest protection, wrist guards, and shin guards. This is following the common attack areas taught in kenjutsu of old. Protective gear helped to keep those safe even when using bokken. However, some groups raised the stakes and disregarded protective gear, with the idea that those skilled enough would fair well in a more realistic engagement. For those with proper training and good self control, then doing gekiken with no protective gear isn’t impossible.
Another point that separates gekiken from kendō is that grappling was allowed. In fact, it was ok to discard one’s weapon and wrestle one’s opponent to the ground if it meant securing victory.
Hyōhō/Heihō (兵法) This is a label that can be pronounced in two ways. Some will argue that “hyōhō” is the correct, and classically accurate, pronunciation, but this is hard to prove as factual. In any case, this label is in a unique place because it’s not only reserved for sword play, but military strategies at a whole.
The kanji used for either terms come from the Chinese use of them in ancient times on the same topic regarding strategies for warfare. Around the Muromachi/Sengoku period, and especially during the early Edo period, the label was being used to represent a knowledge of sword fighting. If we look at this from a larger perspective, this label as used by schools specializing in the sword still focused on a wide level of strategy for all types of combative situations…with the sword being at the center. It can also be said that a greater symbolism and status accompanied the sword, putting it on a high pedastel by sword teachers for the ruling government’s army, as well as aristocrats from samurai families. Thus, placing an emphasis to having the sword as a staple for those who wanted to learn anything related to fighting.
This label is still in use primarily by classical schools that specialize in sword fighting, such as Shinkage ryū.
Heijutsu (兵術) Another variation of “heihō” (hyōhō). Personally, I’ve only came across this in very few occasions. From my understanding, it’s used similar to heihō (hyōhō), as it points toward methods with the sword used for combative situations.
Kodachijutsu (小太刀) This term is used for fighting with a shorter sword, generally geared towards the actual kodachi (小太刀). In the past, swords were categorized by the length of the blade. Since warriors carried a long-short sword set, the longer sword was called “tachi” or “uchigatana”, while the shorter sword was identified as “kodachi” or “wakizashi”.
Before Edo period, there were very few actual styles that documented techniques and strategies specifically for the kodachi. However, this changed later in the Edo period, for a systematic structuring became more prevalent for the kodachi, along with other types of shorter blades. In fact, some schools started pairing longer weapons, such as the naginata, with shorter swords and knives as secondary weapons.
Tōhō (刀法) This term tends to signify a more “deeper” level of Japanese sword fighting, similar to kenpō. Instead of just mere techniques of cutting, it could be viewed that, in the past, this term also covered a wider range of skills, tricks, and strategies similar to heihō. This is based on each school’s methodology, of course.
The origin of this label stems from its use in China, where it stood for swordplay (i.e. how to use a sword). In Japan, there are cases that indicate this label being used in the past. The biggest one being Kyōhachi ryū (京八流), a system accredited to individuals such as Kiichi Hōgen (鬼一法眼)². As one would guess, it is liken to the term tōjutsu (see further below), as it too referred to swords with a single edge.
As mentioned, this is an older term that is not used as a general label for sword fighting nowadays. However, organizations like the Nihon Battōdō Renmei (日本抜刀道連盟), and Zen Nihon Iaidō Tōhō (全日本居合道刀法) are those few where tōhō is activily used.
Tachisabaki (太刀捌き) A term that is much older, and not commonly heard. Its usage is the same as tōhō in the past, where it relates to the overall methodology of utilizing a sword. Disecting this term, “tachi” is the older term used for the iconic Japanese sword, while “sabaki” is a term that, based on context, points to overcoming a situation through advantageous means.
Tōjutsu (刀術) Similar to kenjutsu, this is a label that stands for “sword techniques”. Interestingly enough, there was a push for this to be the new word used universally, as the kanji better represents the actual sword type used in Japan. It is said that during Japan’s infancy, different types of swords were used, such as single-edge and double-edge. After several generations, around the Heian period, swords that were both single-edge and had a curve began to take shape. By around late Sengoku period, and into the early half of the Edo period, many sword-centric martial schools were established, with most of them styling their curriculums around the sword type that is now recognized as the katana. It’s around this era where, for the sake of pride in Japan and all things that are part of its culture, that some individuals initiated a change for Japanese sword fighting to be labeled as “tōjutsu” instead of the generic term “kenjutsu”.
To better understand this is to refer to the kanji “tō” (刀) and learn of its usage. Based on its origin, this kanji represents a single-edge blade, which can be implied to a wide range of weapons of like design with no limit to shape or size. Many sword types throughout Japanese history also incorporate this kanji in its name, such as tachi (太刀), kodachi (小太刀), uchigatana (打刀), nodachi (野太刀), and so on³. As these were implements of war, and were taught from instructions from tried-and-true experiences, the idea was to stop using the term “kenjutsu” (剣術) and properly label Japanese methodology of sword techniques using the kanji that depicted this.
Today, the term “tōjutsu” can be viewed as a specialty word, for despite the push for change, it never replaced the widely-known “kenjutsu” label. Those who train in more classical martial styles, or reference Edo-written (as well as older) documentations, have a more likely chance of hearing this term.
Tachijutsu (太刀術)
During the majority of Japan’s warring periods before the inevitable unification, the tachi was the representative of Japan’s standard sword type. It was also the precursor of the katana, but not necessarily in size and design, but more in terms of status. Just as the katana was reserved for the samurai family and their retainers during the Edo period, the tachi was allowed to be used by those from military families who held high ranks or leadership positions such as “commander”.
A pic of a tachi. From Wikipedia.
The qualities of the tachi that stand out are its long length, more elaborate curve in the blade, the noticeable bend in the sword handle, and the adornments/fittings that make it a sword suitable to be slung on the belt. These qualities are very different than the popular katana, to the point where the methodology of using the tachi veers it away from standard sword techniques, although not entirely on a fundamental level. For example, the tachi is said to be more advantageous while on horseback due to its large curvature, meaning it was usually swung one-handedly. It is due to these differences that gave birth to the term “tachijutsu”. Yet, truth be told this is not a proper term, as it wasn’t used when the tachi was the standard sword of choice. One can say that this term came later during the Edo period, when certain martial artists, in an effort to retain those unique techniques, coined the term.
The use of “tachijutsu” is purely on this longer & widely curved sword and its stated usage on the battlefield. This does not include the rather loose definition of what makes a sword qualified to be called a “tachi”⁴.
Tachiuchi (太刀打ち) This is a unique type of label that is limited to swordfighting mostly in a one-on-one scenario. Usually indicates engaging in rigorous sword strikes with another within a training environment, such as within the dōjō using bokken. However, this term can also mean getting into a fight, as well as whether one is skillful or not to fight another.
Another use case for this term is to engage in an all-out battle. This is especially the case when both sides are equal in skill and strength.
Kumitachi (組太刀) Another unique term very similar to, if not interchangeable with, the previously mentioned tachiuchi. The premise of this word is based on training against another in swordfighting. This may have been introduced during the Edo period, when more training halls were being built and practitioners could spend dedicated time striking with their bokken while blocking those from their peers.
Battō (抜刀) A well known term, it stands for a unique method of utilizing the sword. Fundamentally speaking, this entails a fast-draw methodology of a sheathed sword to cut down an opponent. This method is not only limited to this use case, but for the most part the premise of using a sword in a fast-draw manner tends to be the main highlight. As for the label itself, there are also slight variations, such as “battōjutsu”, “battōdō”, and “battō no hō”. On a related note, there was an alternative of the label known as “bakken” (抜剣), but this was short-lived, for almost no one uses it today.
Battō, or the style of fast-draw cutting, is said to have been established as a functional method of using the Japanese sword for combat established by Hayashizaki Jinsuke Shigenobu in the late 1500s. Others who studied under him spread the knowledge, which has helped to keep this methodology alive up to this day.
It is similar to another term known as iai. In fact, on a fundamental level, the 2 are interchangeable. As to which term comes first, that can be argued tirelessly, but most sway in favor of battō.
Iai (居合) Another term related to the method of drawing a sword out of its scabbard for cutting. The predecessor to this is ofter said to be battō.
A pic of an iaidō training session. From Photo-AC.
It could be viewed that in the past, usage of the words battō and iai were interchangeable. However, nowadays iai has a much more clearer distinction in use. Many schools that practice iai use a curriculum that involves solo practice; instead of practicing techniques against a partner, a student practices drawing the sword and cutting at an imaginary opponent. The goal here is to find a unity in both one’s physical, mental, and spiritual state, and draw the sword in pure unison, as if being in a zen state. Most schools in Japan that practice iai use an iaitō (居合刀), which is a replica of a live sword (shinken), but are made out of aluminum instead of carbon steel. Iaitō are lighter than shinken, but are brittle and not designed for clashing. This also makes it impossible to sharpen them.
Saya no uchi (鞘の中) A specialty term that means the same as battō and iai. From my understanding, it is not an actual label widely used, but more of a code word. In some use cases, a poetic description of battō/iai.
ENDING
This covers the many terms used for swordsmanship throughout Japan’s history. The major take from this is that swordsmanship was identified accordingly depending on the time period, groups, and it’s role in society as a whole. Even today there are still some specialty terms being created to identify the methodology and approach to learning the sword by various groups. While it’s impossible to capture all of these terms (especially obsured ones, or those coded for use by those who are in the know), it’s good to continually increase one’s knowledge on this, as it helps when doing research especially in dated Japanese documents.
1) It is more common to call wooden swords “bokutō” (木刀) in Japan, while “bokken” is a more familiar term used outside of Japan. This isn’t a case of right or wrong as both are Japanese terms, but could be viewed just as a preference.
2) You can read more on Kyohachi ryu and Kiichi Hogen here.
3) The kanji ken (剣) was used in the names of some bladed implements in Japan, such as kaiken (懐剣).
4) This is related to what makes a sword a “tachi” versus an “uchigatana”. While there are stated “standards” for a tachi in the past based on dimensions and sword adornments, it was not unusual for some warriors to use a shorter, smaller curvature sword and identify it as a tachi as it was their main sword. This even became more ambiguous when such shorter swords that were the length of a uchigatana had the stated adornments of a tachi, and slung in the same manner.
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..
To 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 behind.
Demonstration of a version of kasa no uchi in motion
From my understanding, there is no 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 Dōjigiri 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.
To reiterate, 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, it gets its name from the lore of being sharp enough to behead a mighty demon. 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 lair, 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 unlacquered wooden sheath known as a shirasaya (白鞘), with an equally 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 a 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 tip 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”. This double-reading of a name 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 festering 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 from 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 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 starting point of the Spring season was on 3/19 in the States, parallell to the starting point of 3/20 in Japan. As the veil of winter is lifted, we should be greeted with warmer weather and the revigorated growth of nature. It’s a gradual process, one that has different phases.
There are some interesting practices of old in Japan for interpreting changes in nature. Recently, I learned of a method called “Nanajūnikō” (七十二候), or “72 Pentads” in English. Derived from ancient China ideaology, it is a climatological way of interpreting the seasonal behavior through a 5-day period started during the early Edo period. In essence, each season undertakes numerous changes, which affects nature and those creatures living within it at certain times during its duration.
The following 15 days represent shunbun (春分), the Spring equinox. Each 5 days are described by a unique phrase, which will be interpreted in English, followed by a short description.
雀始巣 (すずめはじめてすくう) ENGLISH: suzume hajimete sukū (sparrow begins to make its nest) PERIOD: 3/20 ~ 3/24 DESC: At the start of Spring, sparrows make their presence in particular areas, as they build their nests to lay their eggs. In the past, sparrows were common to see around villages, towns, and fields, thus making a natural indicator that Spring had arrived.
Artwork entitled “Fuyō ni suzume” (芙蓉に雀), part of the Hokusai kachō gashū (北斎花鳥画集, Hokusai’s art collection of birds and flowers). We see a sparrow gliding around cotton rose. By Katsushika Hokusai.
桜始開 (さくらはじめてひらく) ENGLISH: sakura hajimete hiraku (cherry blossoms start to spread their leaves) PERIOD: 3/25 ~ 3/29 DESC: Within these next 5 days, cherry blossoms should begin to bloom country-wide. Of course, this is dependent on the conditions of each area and the type of cherry blossoms that grow there.
Artwork titled “Meisho Edo Hyakkei: Sumida-gawa suijn mori massaki” (名所江戸百景 隅田川水神の森真崎). Here, we see cherry blossoms upclose within the grove by the large Sumida river. By Utagawa Hiroshige.
雷乃発声 (かみなりすなわちこえをはっす) ENGLISH: sudden roar of thunder PERIOD: 3/29 ~ 4/3 DESC: There will be this short period where the weather will grow turbulent with precipitation, accompanied by thunder & lightning. It is not limited to rain, as snow and hail may come depending on the area and weather conditions.
Artwork entitled “Hashidate uchu no kaminari” (橋立雨中雷), this scene portrays an area known as Hashidate being pelted by rain while lightning dances in the sky. By Utagawa Kunoyoshi.
While this method is tried & true for many generations, make no mistake that it is dated, for these interpretation on seasonal behavior may not always hold up today. On top of that, modernization and global warming have had an impact on climate changes. Still, it is interesting to study old practices like this and compare the environment around us, both in and outside of Japan. Planning to cover more, if not all, of the 72 Pentads in a future post or project.
