Katana

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Kenjutsu through 3 different swords

The word “kenjutsu” normally stirs up the idea of training in Japanese-style swordsmanship with the standard katana. In truth, this is more of a modern labeling. During Japan’s history of medieval warfare, the idea of kenjutsu was not limited to a sword of one size. This idea is retained in kobudō, and is put into practice in specified types of lessons, which is also upheld by our Chikushin group.

It is not impossible to apply the techniques of kenjutsu which incorporates a sword of specific length to, say, a sword of a longer length. In fact, it’s this same concept that was applied in the past (along with trial & error from experience), which can give birth to legitimate systems, such as kodachijutsu. This lies in the establishment of solid fundamentals that transpire in the multitiude of weapons one can learn in kobudō.

Some Japanese martial schools that possess various disciplines with different types of bladed weapons, each bearing a clear curriculum of skills, may be called a sōgō bujutsu (総合武術). There may be other non-curriculum content, such as sotowaza (外技), or skills that come from other martial systems not part of the current martial school’s philosophy¹, but in turn offer unique skills that prove beneficial. It’s from factors like these in which one can learn kenjutsu that can transpire across bladed weapons of varying designs.

In this article, I will demonstrate the similarities and differences in kenjutsu based on 3 types of bladed weapons, as well as the neccessity of understanding these finer points in order to use each one effectively. This demonstration encompasses fundamental skills that each of the weapons presented below share.

DIMENSIONS

Presented here are 3 bladed weapons, each of a different type that serves different roles: long sword, standard sword, and short sword.

LONG SWORD (NAGAMAKI): The first is a nagamaki. For starters, this features a 34″ blade, which is longer than the standard katana length of 27″. Along with that is an enlongated handle of 38″, giving the wielder a great reach advantage. A battlefield weapon that was once very devastating, whether on foot or while on horseback.

STANDARD SWORD (KATANA): Next is a katana, the common representation of Japanese sword. This one features a 28″ blade and 11″ handle. The katana accounts for much of what martial artists train with when studying kenjutsu. It’s not only crucial to be adept at using one, but also how to defend against it, since many weapon systems use lessons where one goes against an opponent who wields a katana.

SHORT SWORD (TANTŌ): Lastly is a tantō, coming in with a 10 1/2″ blade and 5″ handle. A bladed weapon that makes a good pair with a katana, but wouldn’t have been the 1st choice for use in combat. Still, it makes for a handy improvision when a bigger weapon isn’t readily available, especially since it’s common for people to carry something similar nowadays.

While the differences between the 3 weapons look daunting, a person can learn how to adapt the concepts of kenjutsu through dedicated practice. For example, while the katana features a common two-handed handle size, the nagamaki is unique as it can be utilized through techniques of both the katana and naginata due to its longer blade and handle. On the other hand, many Japanese martial school teach using a shorter sword against a standard one, allowing one to understand the principles of kenjutsu while wielding a tantō, along with developing dexterity in one’s movements to compensate for its short length.

The following scenarios below uses elements from the kenjutsu of Kukishin ryū to demonstrate how they apply to each weapon, despite their apparent differences. Note that, while Kukishin ryū has specific skillsets for each of these weapons, I will not be going in dept and comparing them to each other. The purpose of this overview is to analyze and compare the overall usage of each in specified situations.

#1 KAMAE – IKIYŌI (SEIGAN)

Here we take up a standard position of readiness, which most know as Seigan (正眼). According to each weapon, how this posture appears will be different, although the intention is the same.

NAGAMAKI – Much easier to control distance with the longer blade. On top of this, one can intimidate and take initiative through the additional handle length. This is achieved through te no uchi (手の内), or how one manipulates the nagamaki using different hand placements.

KATANA – Maintaining a moderate distance, we can keep a proper form. Through skills, one can be ready to either attack or defend when the opportunity arises. Those familiar with kendō can grasp this idea quickly.

TANTŌ – Extend arm to protect oneself and effectively anticipate an attack. Although your arm is more vulnerable this way, one can retract or adjust rather quickly due to a tantō’s light weight and balance point.

#2 KATA – TSUKE KOMI

Next, let’s see all three weapons in action. I will use the following kata, called “Tsuke komi” (附込), in where the main point centers on the defender using a thrust attack to close the distance and defeat an opponent who is open as they raise their own sword over their head. Going solely based on appearance, this kata illustrates the advantages and needed adjustments when performing a thrusting attack through each of the three weapons against an opponent who wields a katana.

NAGAMAKI – At any movement, the opponent is at risk of an uncontested thrust. We can also increase our advantange based on our hand placement on the long handle.

KATANA – Sharing similar reach with the opponent, you crouch down and thrust when a clear opening is made. Timing is still necessary to avoid aiuchi (相打ち, mutual strike that could lead to both killing each other), so speed and placement play an important part here.

TANTŌ – Wielding a shorter weapon, the opponent may be more willing to take the initiative and strike first. In most cases, you intercept with your free hand to neutralize their weapon, while simultaneously stabbing.

#3 UKEGATA – UKEKIRI

For this last scenario, we analyze how to beat an opponent’s overhead sword cut with a strong ukekiri (受け斬り), or cutting-like receive. The timing for this is to wait abit after the opponent commits with their attack, then move accordingly with a strong defense. The key here also lies in the footwork, where for each weapon the right foot is back. The ukekiri we deliver is possible based on how we step with the right foot.

NAGAMAKI – Maintain distance as you take a large swing and cut the attack away, while centering your body behind your weapon. Although slower, the impact from the nagamaki can plow through your opponent’s weapon when well-timed. We don’t extend our arms completely for this in order to maintain center control and balance.

KATANA – As you both move into striking distance, match your sword swing and body movement simultaneously to cut away the attack. You can extend arms abit to apply more power.

TANTŌ – Due to its short length, we step out of the path of the attack and cut into the opponent’s own sword from the side to knock it away. Turn your body sideways with the cut to generate maximum power.

ENDING

Here concludes this demonstration of how to weapons of different lengths can be compared in specified scenarios in order to adapt each one to be effective. This form of learning is but one of many in which practitioners at the Chikushin group can experience.

1) One common reason is the skills come from a certain martial style in which the teacher may not have proper licensing to openly teach. Another is they come from scrolls, being deciphered in its entirety but incorporating a teacher’s knowledge in their current martial systems to fill the gaps.

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Kanze Masamune: The other fine sword

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 ōsuriage mumei (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

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Understanding Te no Uchi

A topic that often comes up no matter how long a person studies martial arts is what he/she should be doing with their hands during x, or how they should manipulate their weapon during y. These examples are generally related to te no uchi (手の内), which is an important area of training that is introduced to many beginners of martial arts, yet is deep enough in principles that even advanced practitioners continue to work on.

Te no uchi refers to how you wield a weapon in your hands. It is not limited to just how one holds a weapon, but goes as far as how to manipulate it, how to do certain strikes, how one’s hands change grips, how it is held based on one’s posture, and so on. You’ll hear this used for many weapon-based martial systems such as kenjutsu (剣術), kyūdō (弓道), sōjutsu (槍術), and so on. However, it is not just used for when you possess an object in your hand, for te no uchi is also used for hand-to-hand martial systems like karate (空手) and taijutsu (体術), for in essence even a martial artist’s hands are a “weapon”.

Let’s refer to the te no uchi of the naginata. One of the basic te no uchi often taught very early is keeping a consistent grip style with the right hand on top and left hand on bottom similar to wielding a katana. This is reminiscent to how it was used on the battlefield in the past especially in troop formation. Another te no uchi taught is how to switch hand positions, which is important depending on the situation and type of naginata being used. The following example below illustrate this when doing repeated horizontal cuts.

① The initial grip (left pic) is important, as it determines the te no uchi for the right horizontal swing.

② Finishing the swing, the right hand turns the naginata vertically (left pic), from which the left hand slides up and switches place with the right hand (middle pic). Through this a transition to a horizontal swing using the intended te no uchi can be established.

③ Finishing the left horizontal swing, same action is performed again, this time left hand bringing the naginata vertical (middle pic), then switching with the right hand (right pic). Repeat.

This is a step-by-step demonstration on how to achieve this switching of hands in order to maintain a specific reach with the naginata. Of course, as one becomes proficient, this manipulation will become smoother & natural. However, the overall execution of this te no uchi will still remain as long as it’s properly ingrained in the body.

Another scenario concerning te no uchi can be seen during kenjutsu, when two practitioners lock their katana together in tsuba zeri ai (鍔競合い). When the skill level between the two are about even, the one with the better te no uchi can get the upper hand. For example, it is advantageous to understand the moment when to push the opponent’s hands up through the use of one’s tsuka (柄, sword handle), or how to twist one’s hands to utilize the tsuba (鍔, sword guard) to push the opponent’s sword to the side in order to break through their defense, which is possible through the use of advanced te no uchi.

In ending, te no uchi is one of the basics found in Japanese martial arts that is learned very early in training. It’s critical that beginners practice this in order to progress in their respectful martial system. Yet, it is something that can not be forgotten and left behind, as it continues to define a practitioner’s proficiency even in advanced techniques. Thus, te no uchi is a fundamental skill that can be worked on even for a lifetime.

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Tōkenjutsu & Universal Lessons Concerning Element of Surprise

Recently I had a discussion with a good friend of mine regarding techniques for throwing bladed weapons. The premise was based off of a text from a book I am currently translating, “Tsuki no Sho”, which discusses principles around the use of Jūji shuriken (十字手裏剣, a cross-shape throwing blade). My friend, who has spent many years training in Shinkage ryu kenjutsu, also mentioned a similar kata, but which instead uses a shotō (小刀, short sword). While size of both are different, using them in an unperceived fashion is important in both scenarios. For this article, I want to discuss a bit about throwing bladed weapons, and how the element of surprise is an imperative tactic no matter the size of the weapon being used. In my training group, the universal term used is tōkenjutsu (投剣術, techniques for throwing bladed weapons).

Examples of types of bladed weapons used for tōkenjutsu (author’s collection)

When learning how to incorporate throwing weapons, whether they are designed for that purpose or not, much of the instructions tend to lean towards psychological warfare. This is especially true when practicing the timing for surprise attacks through kata geiko. Of course, psychological tactics exist for other usages of throwing weapons, such as offensive purposes. Yet, this tends to get limited to specific weapons, whereas tactics for surprise attacks tend to incorporate a broader range of weapons. Due to the nature of attacking with a thrown bladed weapon in an unexpected manner, a level of mental and physical skill is necessary to pull this off.

One of the 1st steps utilizing psychological tactics is through one’s kamae (構え, posture). In Classical Japanese martial arts, this is one of the basics, so a great amount of time is spent understanding how kamae dictates what we do. This is not just a physical matter but one that pertains to attitude. Some kamae are naturally suited for certain scenarios, making it easier to incorporate movements to launch a throwing weapon without being perceived. For example, in a case were one must flee from an opponent who has a katana, one turns around and begins to run. In that movement, we can use a taijutsu kamae called tonsō no kamae (遁走の構え, Escaping posture) to pull out a hiragata shuriken (平型手裏剣, a flat wheel-like throwing blade) from one’s inner pocket. When the opponent is at a certain distance and preps to strike, we turn and throw the hiragata shuriken. Such a tactic like this can help in aiding one’s escape if done correctly, or to attempt to subdue the injured assailant if necessary.

Practicing throwing a sword with a fukuro shinai through one’s kamae

In another scenario, where both combatants are wielding a katana, you may be perplexed with a very strong and skilled opponent. It’s here where you use an unperceived tactic from tōkenjutsu that can grant victory. As your opponent assumes jōdan no kamae (上段の構え, high posture), you follow in suit. As the opponent comes in with a shōmen giri (正面斬り, downward cut to the face), we crouch down and hurl our katana to impale them. Of course, we have a failsafe in case this doesn’t work, which involves pulling out one’s shotō and quickly closing the distance whether our katana hits the mark or not, for the notion of a person suddenly throwing their main weapon (katana) is enough to create a shinriteki na kuzushi (心理的な崩し, mental break). This can cause one’s opponent to hesitate even just for a brief moment, which may be enough to win.

Stepping back to create distance, a hidden blade kept on the side of the sword handle is removed, then quickly thrown.

Or, taking a different approach in the previously mentioned situation, you attempt to go toe-to-toe through kumitachi (組太刀, battling out with swords). At some point, you back away, then assume seigan no kamae (正眼の構え, straight-to-the-eyes posture). As your opponent approaches and attempts to swat away your katana, you pull out a small blade hidden on the side of your sword handle. Hurling it as your opponent is distracted, you then finish with an uncontested downward stroke with your katana. Some katana have one or two holes in the tsuba (鍔, sword guard), where small knife-like blades can be placed through. Such a design allows a warrior to have an additional trick up his sleeve, but it’s one which works only if the adversary doesn’t perceive exists ahead of time.

In conclusion, psychological tactics are very effective when throwing bladed weapons. Learning this through kata geiko is common practice. No matter the situation, using the element of surprise is indeed a universal tool handling a bladed weapon that will be thrown no matter the size.

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Mune or Mine, Which One Is Right?

How familiar are you with the anatomy of the katana? A popular single-edge sword, the katana is one type of the different bladed weapons used in Japan’s history, collectively known as nihonto1. Gracefully made, each part of a katana is essential and is required to be understood thoroughly if studying one of the traditional kenjutsu and iaido schools from Japan. While the naming convention for each part tends to be universal, at times certain schools will use a different name. One part in particular caught my attention recently, which is the back of the blade. Growing up, I learnt this as “mune2“. However, I’ve come accross different sources, primarily in Japanese, that call this “mine3” instead. What is the difference between the two terms, and what are their origin?

A pic of a katana and its parts illustrated. Mune is circled. From the book “The Art of Japanese Swordsmanship: Manual of Eishin-ryu Iaido” by Nicklaus Suino.

MUNE
The word mune is used to describe the ridge on the roof of a building. Usually roofs on more older buildings such as shrines and long wooden homes have this. They stretch across the top of these roofs, acting like a joint for the sloping parts that make up the roof. The thickness and defined shape of the back of a nihonto was probably likened to this.

A picture of a roof of Hiroshima Castle. The mune is the highest part of the roof, featuring a fish sculpture. From Wikipedia.

MINE
The use of the word mine is generally associated with an object reaching to a great height. Usually referencing tall mountains, it also has been used when referring to eboshi4 (traditional headwear). For nihonto of relatively long length, when held upright, is similar in comparison to a mountain.

High points on tall mountains, such as Mt. Fuji, are often described with the word mine. Picture from Wikipedia.

WHO USES WHICH

Referencing different traditional kenjutsu/iaido schools, it’s interesting to see which ones use one or the other. Here’s a few names of the schools that use the term mune:

  • Eishin ryu (includes Mugai Jikiden Eishin ryu, Musou Jikiden Eishin ryu, etc.)
  • Musoshinden ryu
  • Yagyu Shinkage ryu

Now, a few names of schools that use the term mine:

  • Jigen ryu
  • Shinto Munen ryu
  • Niten Ichi ryu

CONCLUSION

In ending, both mune and mine are interchangable when referring to the back of a single-edge nihonto, albeit style-specific in some cases. Just remember that either one is ok to use.

1) 日本刀. The term is actually for bladed weapons with a handle, and not soley reserved to actual swords, such as the katana. Here’s a few of the various weapons that fall under this category:

  • Tsurugi (剣)
  • Chokuto (直刀)
  • Tachi (太刀)
  • Wakizashi (脇差)
  • Nagamaki (長巻)
  • Yoroidooshi (鎧通し)
  • Uchigatana (打刀)

2) 棟

3) 峰

4) A light, black headwear made out of good quality washi (Japanese-originated paper). It’s use began during the Heian period (late 700’s to late 1100’s) up until the Middle Ages, around Sengoku period (1500’s to early 1600’s).