Sword-related Japanese Sayings

With my first article in the new year and back from my holiday, I want to take a look at some Japanese sayings still in use which have their roots in sword-related vocabulary. Some of the sayings might not be that common and I would be happy if someone (native speaker) can come up with a few more. So please enjoy the following list which is in alphabetical order:

daijôdan ni furikabutte (大上段に振りかぶって) – Literally “to raise the sword in the overhead position,” which is regarded as the most aggressive position in swordsmanship, it means also “fearless,” “daring”, “keen” or “reckless” and the like.

denka no hôtô o nuku (伝家の宝刀を抜く) – This term means literally “to draw the precious family treasure sword.” As the literal translation suggests it is today either used to say “to use extreme methods” or to “one´s last resort”, or also to say “to play/pull one´s trump card.”

fuda-tsuki (札付き) – see origami-tsuki

futokoro-gatana  (懐刀) – The futokoro-gatana (written with the characters [懐剣] also pronounced as kaiken) referred to a plainly mounted tantô worn in the belt or hidden (mostly by women) in the fold (the futokoro) of a kimono.  Due to this wearing close to the body when it can easily and swiftly be drawn in case of an emergency, the term was soon applied to a confidant or right hand man, or also to a secret advisor.

ittô-ryôdan ni suru (一刀両断にする) – Literally “cutting in two with one sword stroke”, this saying means also “to use decisive (drastic) measures” or “to make a clear decision.”

jigane ga deru (地鉄が出る) – Literally “the steel appears,” for example when a blade is polished so often that the shingane appears or the jigane shows more unrefined areas. As a saying, it means “to reveal one´s true character.”

kaitô ranma o tatsu (快刀乱麻を断つ) – Literally this term means “to cut through felted hemp threads with a sharp blade.” The saying is about equivalent to the English “to cut the Gordian knot.”

kireaji ga ii (切れ味がいい) – This term means literally “having a good/sharp cutting edge” or just “sharp.” But it is also like the ambigious English word “sharp” in the context of “sharp tongue”. “ For example, kireaji no ii bunshô o kaku (切れ味のいい文章を書く) means “to write in an incisive style.”

menuki-dôri (目貫通り) – Literally this term means “menuki avenue”. Menuki are, when on unwrapped tantô same-covered hilts, are the most eye-catching of all sword fittings so a menuki avenue refers to the most eye-catching place of a town or the center of its main street. But there is also another explanation of the etymological origins of this saying, namely by the term iki-uma no me o nuku (生き馬の目を抜く), “to steal a living horses eye” with the meaning is “sharp practice,” “to catch a weasel asleep”. However, it is unclear how this saying (menuki in the meaning of “eye stealing/pulling” in the context of being swift or sneaky) explains the use of the menuki in menuki-dôri to refer to the most eye-catching place of a town or the center of its main street.

mi kara deta sabi (身から出た錆び) – This saying means literally “rust from the sword blade itself” and refers to a blade which keeps rusting due to improper or no maintenance. It is nowadays used to refer to the natural consequences of one´s act, to reap what you sow, to get what one deserves, or to pay for one´s mistakes.

moto no saya ni osameru (元の鞘に収まる) – This term referred originally to the fact that each sword is different in terms of sori (and shape) and requires an individually made saya. Literally the saying means “fits like the original saya” if a blade fits by chance into another saya. Nowadays the term is used to refer to an old love which is renewed or when a married couple reconciles after a time-out.

mukashi no tsurugi, ima no na-gatana  (昔の剣今の菜刀) – This saying means literally “once a sword, now a vegetable knife” and refers to a once outstanding person or thing has turned into a John Doe or to something that just lies around and collects dust respectively. The English pendant to this saying would be “Hares may pull dead lions by the beard.”

namakura (鈍) – This character means originally “dull sword” but was also used to refer to a good-for-nothing or coward. But it also has pretty much the same ambiguous meaning as the English “dull”, although in this context mostly the on´yomi don” of this character is used.

nuitara saigo (抜いたら最後) – This term means literally “drawing the sword because this is the end” and is like the English “as if there were no tomorrow.”

nukisashi-naranu (抜き差しならぬ) – This term means “unable to either draw or resheath one´s sword.” So the saying is used to expressed “to be in a jam” and it is though to go back to the “problem” with a too rusty sword: Did it rust in the saya, you can´t draw it, and did it rust out of its saya, you can´t resheath it.

origami-tsuki (折紙付き) – Literally this term means just “(blade) comes with an origami”. It is now used to say that something comes with a guarantee, or applied to a person that he or she is recognized. But also a person with a bad reputation can be referred to by a saying from the sword world, namely fuda-tsuki (札付き), i.e. “(blade) comes just with a fuda (and not with a regular origami).” Please refer to my book The Honami Family for further details on the differentiation of origami and fuda.

saigo no dotanba de (最後の土壇場で) – This term means “at the last elevated area” and referred to place of execution (dotanba, 土壇場) where also swords were tested on criminals. As saying it means “at the very last moment” or “at the eleventh hour,” i.e. the last chance of a delinquent to say something standing or lying tied up on the elevated earth mound before the executioner did his job, testing a sword blade at the same time.

saya-ate (鞘当て) – Literally “hitting saya”, this term refers to the (inevitable) duel resulting from hitting saya of inattentive samurai passing each other. Today the term is used to refer to a rival in general or a rival in love, with the context in mind that hitting someone´s saya, intentionally or unintentionally, ended always in a duel or at least in rivalry.

seppa-tsumaru (切羽詰まる) – This term means “tight like a seppa” and refers to “be at one´s wits end”, “to be cornered”.

shinken ni (真剣に) – Literally “with a real sword” (not a bokken or a shinai), this term means just “seriously” or “in all seriousness.”

shinogi o kezuru (鎬を削る) – This term means literally “to scrape your shinogi” and referred to a fierce sword duel as a Japanese swordsman usually tries to parry an opponents blade with the shinogi or the mune and not with the cutting edge of his sword. Nowadays the term shinogi o kezuru is used in general to a fierce fight where sparks fly.

sori ga awanai (反りが合わない) – This term means “the sori of a sword does not match (with a certain saya)” as each sword has a different curvature and shape and needs thus an individually made scabbard. So sori ga awanai means today “to be unable to cooperate”, “they cannot agree,” or “they fight like cat and dog.”

tantô-chokunyû (単刀直入) – This term means literally “entering (the enemy lines) alone an just with one´s sword.” It is now used to express things like “to speak buntly,” “to ask point-blank”, “without beating about the bush” and the like.

tsuba-zeriai (鐔迫り合い) – The term means “to push each others sword guard,” that means a sword duel has gone close combat and the duellists standing tsuba to tsuba, both trying to push forward. So this saying stands for two opponents or competitors at the moment right before the decisive move for one of them to win.

tsuke-yakiba (付け焼き刃) – The term means literally “add a tempered edge”, namely to a dull or crudly made blade, i.e. when a swordsmith improved such a dull or crudly made blade by attaching a new cutting edge of higher-quality steel. As a saying the term refers to “overnight knowledge,” “pretension,” “affectation,” or someone “semi-skilled.”

yaki-naoshi (焼き直し) – As we know, this term refers to the process of retempering a blade which had lost its hardened edge for whatever reason. The verb “to retemper” is yaki-naosu (焼き直す). But the term means also “plagiarism,” “imitation” and “copy”, or “to imitate,” “to copy” or “to crib” in its use as verb.

yari ga futte mo (槍が降っても) – Literally “even though it is raining spears”, this saying means “no matter what happens.”

Some kind of end-of-the-year review

I am heading to the US on Monday, December 9th, and will stay there until January 12th. I will let this blog rest for this time and hope that my readers remain loyal to me and look forward to a new year of interesting insights into the world of Japanese sword and swordfittings (and related subjects of course).

I use this opportunity to express my sincere thanks to all my readers and buyers of my books! Now let´s do a bit statistics. The blog is now on since February and the average traffic per day is about 150 views. The five most read articles so far were in descending order: The Musashi-Masamune – One blade, four oshigata, Some thoughts on utsuriFrom the life of Unno Shômin, The swords of the Tokugawa-shitennô, and The difficulties in classifying Kamakura blade shapes. The top twelve of views are from the following countries, although the rank of Austria might not count as it goes probably back to a large extent to my very own test clicks. So a big thank you to my US and German readers! And I am also kind of proud that Japan is amongst the first seven (or six if you don´t count Austria;).

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As for the plans for next year, there will be a great standard work published towards the end of spring which is done in cooperation with two sword societies, but more details will be revealed when the time comes.

Another upcoming reference work is the A-Z of Japanese Swordsmiths Schools. This work goes back to a customer inquiry I got in early summer this year. I was asked to compile a kind of detailed encyclopedic list on all swordsmith schools as they are nowhere found in a comprehensive manner, i.e. not just the major schools we all know but all schools, from A-Z, (e.g. also such “exotic” schools like Tokujira, Yakuôji, Asago-Taima, Ganmaku and the like which are hardly addressed in the usual references). Well, the project was initially for private use and was about to fail because of the costs. So my customer (who prefers to remain anonymous) and I decided to make it a public project (with a little funding from the initiator). And for this, it will be much more detail as originally planned and will contain genealogies and examples of workmanship.

Another publication on my list is a third supplement to my Kantei volumes as I have gathered oshigata for about further 400 pages. Apart from that I would greatly welcome any suggestions!

Again thank you for following my blog and early happy holidays to all of you!

PS: Although this blog is on rest, you can reach me at any time via mail.

On the simplification of Japanese characters

In common practice, the issue with the simplification of Japanese/Chinese characters is mostly brushed aside as like “taken note of” but it is not that easy, at least not for me as translator. Many people interested in the Japanese sword are aware of the fact that a simplification of characters exist and that older characters with (too) many strokes were at a certain point in time simplified by removing some strokes. The simplification itself is not the main topic of this article as I want to focus more on my problem as translator with dealing with them, but I nevertheless want to start with a general overview of the whole subject of simplification of Japanese/Chinese characters.

In postwar Japan, i.e. in 1946, the Japanese Ministry of Education issued the so-called “list of kanji for general use” (tôyô-kanji-hyô, 当用漢字), a reform of the Chinese characters so far in use in Japanese written language. This was an official thing like the various spelling reforms of the English language which means schools, governmental documents, newspapers and the like had to follow the tôyô-kanji-hyô. The initial list contained 1.850 characters, some of them simplified. The simplification process was basically done in two ways: Either the right-hand radical which indicates the on´yomi (Sino-Japanese reading) was replaced with another character of the same on´yomi with fewer strokes, or an entire complex compound of a character was replaced by a simpler one. But the simplified characters were no complete new creations as many were based on widely used handwritten abbreviations (ryakuji, 略字) of the prewar era. For example the character for hiro(i) (廣, expansive, wide) was replaced by the character (広) but which was already “unofficially” in use in earlier times to abbreviate the relativ large number of strokes. But there was also another way of simplification, namely by orientating on the on´yomi. For example for the old character i (圍, enclose), the inner part (韋) – which determines the on´yomi – was replaced by the radical (井) which doesn´t mean the same as (韋) but which also reads i. So i (圍) became (囲). In 1981, the tôyô-kanji list was replaced by the Ministry of Education by the jôyô-kanji (常用漢字) which are known to everybody who learns Japanese. The initially 1.850 tôyô characters were extended by 95 which in turn were just recently once more extended by 196 in 2010 (also five characters were removed).

So far, so good. The “problem” now is that we mostly dealing with more or less ancient texts and inscriptions and they require a certain sensibility. At the beginning I was talking of common practice and this common practice is to use by default the simplified version of characters. Most of the recent publications, or at least those published since the 1970s, handle it this way. That means, a signature like “Sagami no Kuni Hiromitsu” chiselled with the characters (相模國廣光) is usually quoted as (相模国広光). Also the NBTHK uses the simplified characters when issuing papers even if the blade itself is signed with old unsimplified characters (see picture 1). However, we occasionally also find old kichô papers which make use of the old characters (see picture 2).

  Simpl1 Picture 1: tokubetsu-hozon paper for a Sukehiro which quotes the characters (助広) although the blade is signed (助廣).

OLYMPUS DIGITAL CAMERAPicture 2: tokubetsu-kichô paper from 1972 which quotes the character for “Kuni” (国) in the old way (國).

So is there a “correct” way to deal with these simplifications in translations? Basically yes, because strictly speaking, we must follow the spelling reform. But as we find ourselves in the field of antiques, we are quasi somewhat “special”. That means in a “totally correct” way, the original inscription/signature should be reproduced with the very same characters it shows and it might be extended by a simplified circumscription in parenthesis or as footnote. This is fine for a native reader for whim the thing is more or less clear. He knows that he is facing simplified characters when reading a paper or a book which mentions signatures for examples. Also (of course depending on the experience and depth of study) he basically knows the unsimplified version of the characters and knows thus how the blade is actually signed. So if a native reader reads in a book a line with a reference to the signature “Sagami no Kuni Hiromitsu” (相模国広光), he knows that the blade, as being several hundred years old, should show the characters (相模國廣光). By the way, there are of course exceptions where even medieval craftsmen made use of simplified characters. For a Western reader or collector however, the thing is far more difficult as he might be unable to associate an unsimplified signature with the quote in a publication. Because of that, I am frequently addressed that my translation does not match the signature they have or that I made a mistake. So we are back at what is the best way to handle this issue. Mostly it is namely impractical to add comments or footnotes to each and every quote/translation. Also rather impractical is to add a note to every translation like “be aware of the fact of the simplification of characters”. Well, I did point out the use of simplifaction or rather the presence of unsimplified characters in my previously published Kantei volumes for example to avoid confusion as the presented oshigata right next to the translation shows clearly the old characters. For the future, I must admit that I will follow the spelling reform and use the simpified characters, and that I will point out potentially confusing situations with unsimplified and simplified characters separately.

Below I want to present as a reference a small list of unsimplified characters and their simplified variant which might occur on sword or kodôgu signatures:

(佛) Butsu (仏)

(臺) Dai (台)

(傅) Den (伝)

(藝) Gei (芸)

(刄) Ha (刃)

(濱) Hama (浜)

(邊) Hen (辺)

(榮) Hide, Ei (栄)

(寶) Hô, Takara (宝)

(惠) Kei, E (恵)

(劍・劔・劒・剱・釼) Ken, Tsurugi (剣)

(縣) Ken (県)

(國) Kuni (国)

(舊) Kyû (旧)

(圓) Maru, En, Kazu (円)

(當) Masa (当)

(繩) Nawa, Tsuna (縄)

(應) Ô (応)

(鷗) Ô (鴎)

(來) Rai (来)

(龍) Ryû, Tatsu (竜)

(實) Sane (実)

(眞) Sane (真)

(齋) Sai (斎)

(澤) Sawa (沢)

(聲) Sei (声)

(關) Seki (関)

(對) Tai (対)

(體) Tai, Karada (体)

(瀧) Taki (滝)

(耀) Teru (輝)

(鐡) Tetsu (鉄)

(鐵) Tetsu (鉄)

(壽) Toshi, Ju (寿)

(儔) Tomo (俦)

(豐) Toyo (豊)

(與) Yo, ataeru (与)

(豫) Yo (予)

(餘) Yo (余)

Complete Kantei Volumes

As I am on holiday soon (Nov 17-27) and in the US from Dec 9 to around Jan 12, this is now the time to finish projects and comply with requests of my readers. I got many mails to summarize all the Kantei volumes and the two supplements and the two books introduced in the following are a compliance to this request. That means I compiled a Koto-kantei Zenshu and a Shinto & Shinshinto-kantei Zenshu, containing all previously introduced blades in a sorted manner. On far more than 700 pages, about 600 blades are described in detail and with a kantei in mind and I was told by many of my readers that these books are a must have for any collector and nihonto student. Also the table of contents found at the end of this entry speak for themselves.

As this is going to be a Christmas offer, both new Zenshu volumes are in hardcover and offered for the price of each $ 129.00. That means you even save $ 69.00 compared to getting the four previously published Kantei volumes for $ 327.00. So if you were hesitating so far, this is probably the best chance to get these references. Also please note the Lulu voucher code CORNUCOPIA which gets you 20% off until Nov 15th 23.59, i.e. midnight today!

The Koto-kantei Zenshu (772 pages, 8.25 wide x 10.75 tall) is available here.

The Shinto & Shinshinto-kantei Zenshu (716 pages, ibid.) is available here.

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Kano Natsuo – His Sketchbooks II

Due to the huge feedback, I also decided to make available all eight of Natsuo´s non sword fittings-related sketchbooks (Shasei-jô, 写生帖). Seven of them are numbered – Shasei-dai 1-7 (写生第壱・七) – and one sketchbook bears just the title Shasei. The book comes of course in the same layout as the first book on Natsuo.

8.25 wide x 10.75 tall, full color, hardcover, 312 pages – $ 129.00

Available here.

eBook is available here.

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Kano Natsuo – His Life, his Art and his Sketchbooks

Out now, the most comprehensive, non-Japanese book on Natsuo. Even though the kinko artist Kano Natsuo is on everyone´s lips when it comes to conversations about late Edo period sword fittings surprisingly little material is available outside of Japan, in neither a comprehensive or in a published form. With this publication I try to provide a remedy by introducing an outline of his career, his personality, his art, his students and his works (34 pieces on more than 50 pages). And, as a reference, I have republished all four of Natsuo’s sketchbooks on sword fittings (Kengu-shitazu-soko). Thus I hope that with this publication I can contribute to the understanding and appreciation of this great artist in the West and that the reader enjoys browsing through Natsuo´s sketches.

8.25 wide x 10.75 tall, full color, hardcover, 250 pages – $ 129.00

Available here.

eBook is available here.

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A Natsuo motif on a Kajihei blade

In the first year of Genji (元治, 1864), Natsuo´s firstborn son saw the light of day. The first year of Genji was the year of the “wood rat” (kinoe-ne, kôshi or kasshi, 甲子) which in turn was the very first year of the sexagenarian circle and was thus very auspicious, and so he named his son “Kinekichi” (甲子吉, lit. “lucky one from the year of the wood rat”). Natsuo describes those times in his Tsuisô-roku (追想録, “Records of Recollection”) published in Meiji 15 (明治, 1882) as follows: “The number of orders and of the people (he meant his subcontract workers like, for example, Tomekichi [留吉], Hikota [彦太] and Kakuzô [恪蔵]) increased, and that now with Fuyu and Kinekichi the house became too small and so after five or six years we moved to the second block of Chôjamachi (長者町) in Edo´s Shitaya district (下谷, about 3 km to the north of the old house in Kanda-Sakuma, 神田佐久間町).” Well, Kinekichi was raised and trained to become Natsuo´s successor one day. He used the craftsman´s name “Fuyuo” (冬雄) but did not have time to step out of the shadow of his father as he died in the eleventh month of Meiji 20 (1887) at the young age of 24.

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Picture 1: Daikokuten no zu futatokoromono (大黒天の図二所物)

mei, kozuka: Bunkyû kinoe-ne shoshun kore o tatematsuru (文久甲子初春上之, “finished in early spring of the year of the rat of the Bunkyû era [1864]”) – Sohaku Natsuo + kaô (素璞夏雄); mei, menuki:    kinoe-ne haru no hi Natsuo – Tôbu ni oite kore o tsukuru + kaô (甲子春日夏雄・於東武造之, “made in Edo on a spring day in the year of the rat [1864] by Natsuo”); kozuka of shibuichi, polished finish, shakudô suemon, back side in sogetsugi; menuki of pure gold, katachibori, shakudô suemon, silver suemon

In the same year kinoe-ne, Natsuo made a futatokoromono set (see picture 1) consisting of a kozuka and a pair of menuki, depicting Daikokuten (大墨天) and a rat, as it was the year of the rat and as the rat is regarded as messenger of Daikokuten. So maybe Natsuo picked this motif of one of the Seven Lucky Gods as auspicious sign for this happy event of being blessing with a son in that very year. Another fascinating aspect of this motif is that Natsuo even made a Daikokuten painting at the same time which is still extant and mounted as hanging scroll (see picture 2). Also we find in one of his sketchbooks a rubbing of a Daikoku which he had engraved to the kogatana blade of a kozuka (see picture 3). And this Daikoku carving and its signature in turn were engraved by the swordsmith Hosoda Heijirô Naomitsu (細田平次郎直光) onto one of his tantô. Interesting is that Naomitsu – who is better known under his pseudonym “Kajihei” (鍛冶平), the name under which he focused on forgeries of shintô, shinshintô and also of kotô blades after the ban on swords in 1876 – decided for himself to add Natsuo´s kaô under the signature which is not there at the original carving on the kozuka blade.

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Picture 2: The hanging scroll.

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Picture 3: The rubbing of the Daikoku engraving on a kozuka from one of Natsuo´s sketchbooks (left) and the sketch for the Daikokuten-futokoromono (right).

Well, Naomitsu alias Kajihei was a student of Jirô Tarô Naokatsu (次郎太郎直勝, 1805-1858), the son-in-law and successor of the famous shinshintô swordsmith Taikei Naotane (大慶直胤, 1778-1857). There was a certain connection between Natsuo and the Naotane lineage of swordsmiths. One of his students namely, Tsukada Hideaki (塚田秀鏡, 1848-1918), was the adopted son of Hata Naoaki (畑直鏡), who in turn was a student of Jirô Tarô Naokatsu. Also we know from Natsuo´s records that a blade of Naomitsu´s master Naokatsu showed a Daikokuten engraving similar to this one. So it is rather likely that this blade is an hommage to both Naokatsu and Natsuo as it is fully signed by Naomitsu and we can thus probably rule out that it was intended as whatever forgery. This is also supported by the fact that it was made in Keiô two (1866), i.e. ten years before the ban on swords and Naomitsu´s “career” as forger Kajihei. Another interesting allusion to Natsuo´s Daikokuten carvings is Naomitsu´s explicite use of the kinoe-ne day in his signature. The kinoe-de day is an auspicious day every sixty days in accordance with the sexagenary circle. Incidentally, the kinoe-ne day was the eighth day of the ninth month Keiô two.

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Picture 4: tantô, mei: “Naokatsu-monjin Naomitsu tsukuru – Keiô ninen kugatsu kinoe-ne no hi – kimibanzai” (直勝門人直光造・慶応二年九月甲子日・君万歳, “made by Naomitsu, a student of Naokatsu, on the kinoe-ne day of the ninth month Keiô two [1866], year of the rat – Long Live the Emperor”), nagasa 23,0 cm, kanmuri-otoshi-zukuri

So this blade gives on the one hand an interesting insight into the career of Naomitsu before he focused on forgeries, and on the other hand also an interesting insight into the time when Natsuo´s first son Fuyuo was born. This futatokoromono and the blade of Naomitsu are featured in my upcoming book Kano Natsuo – His Life, his Art and his Sketchbooks.

Japanese Sword Trade with Ming China

Most of us know that Japan exported swords to China and I also briefly mentioned the official trade (kangô-bôeki, 勘合貿易) between the bakufu and China´s Ming dynasty (明, 1368-1644) in some of my publications. As always, I wanted to get to the bottom of the matter with the sword exports and did some research but it took me a while to bring the results into a comprehensive form, namely this article. We know from the 5th century Book of the Later Han (Gokanjo, 後漢書), a Chinese court document covering the history of the Han dynasty (206 BC-220 AD) from 6 to 189 AD, that Japan had contact with China since the first century BC. But it should last until the 6th and 7th century AD and the basic unification of China and Japan, that the Yamato court sent diplomatic embassies to the Chinese court, namely to the then Sui (隋, 581-618) and Tang dynasties (唐, 618-907). The aim of these embassies was basically to learn from China which was back then advanced in virtually all areas. So political systems, administration, technology, science, culture, and not to forget Buddhism was imported. Incidentally, there were altogether six embassies to Sui, and 16 (successful) to Tang China. Well, the diplomatic relations ended rather abruptly with the downfall of the Tang dynasty, but also Japan had not been able to send the last one planned for 894 because of financial reasons. But the official stop of these missions did not mean the end for Japanese and Chinese cultural, technological and religious exchange and of course also not for the increasing trade. All these free relations ended when emperor Hóngwǔ (洪武, 1328-1368) came to power and founded the aforementioned Ming dynasty after ending the Mongol empire. The major reforms undertaken by Hóngwǔ on all levels brought the law that all international contact had to be by officially legitimized tribute missions. Important to note for a better understanding of the latter sword imports of China is that Hóngwǔ imposed a ban on seafaring. Or at least the government must be informed about all things going on on the ocean because the emperor feared that former enemies could organize themselves over sea routes or that people use ships to desert to the enemy. So private trade was prohibited but a solution had to be found not to nip international and maritime trade in the bud. This solution was that foreign contries which wanted to trade with Ming China had to politically submit and to pay tribute. In return, Ming China handed-out official trading licenses to their submissive allies. But when Hóngwǔ learned later in his reign that the foreigners made a lot of profit with these official licenses and of course did not come just to pay tribute to the Ming court, he even tightened his strict rules and prohibited now all foreign trade and contact with foreigners. It is interesting to read that Japan takes up a chapter of its own in Hóngwǔ´s Instructions of the Ancestor of the August Ming (Huáng Míng Zǔ Xùn, 皇明祖訓) where it belongs to those countries which are no specific danger to China as being to far away but being described as „smart but cunning and mendacious when it comes to evading (imperial) rules“.

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Picture 1, from left to right: Hóngwǔ, Yǒnglè, Ashikaga Yoshimitsu

Things changed when emperor Yǒnglè (永楽帝, 1360-1424, r. 1402-1424) came to power who was much more open for foreign trade and resumed the diplomatic relations to many countries. However, Yǒnglè continued the policy of prohibited seafaring and the tribute system but he sent out a lot of embassies to show that Ming China is now again more willing to welcome tribute missions. But still each trip abroad and commercial voyage needed imperial permission and private journeys and secret private contact to foreigners, even for officials and soldiers, was forbidden and was punished. A problem for the Ming treasury was that generous gifts were given to the countries which came and paid tribute. To counteract this, the tribute missions were again cut back and the foreign contries were informed that only those goods should be brought as tribute which were of use for Ming China. Also the number of persons attending a tribute mission was regulated as they had to be accomodated at public expense. It was shôgun Ashikaga Yoshimitsu (足利義満, 1358-1408, r. 1368-1394) who accepted the new rules and appointed himself as a tributary vassal of Hóngwǔ´s successor Jiànwén (建文, 1377-1402, r. 1398-1402) in the eighth year of Ôei (応永, 1401). Three years later, he received from Jiànwén´s successor Yǒnglè in return for the will to pay tribute the official trade license (kangô-bôeki, 勘合貿易). It is interesting to note that Ming China saw now the shôgun as “King of Japan”, not the emperor, as vassal and liaison for diplomatic relations. But although the official trade meant considerable profit for Japan, organizing a tribute mission, the prerequisite for this trade, had always been quite a task and took often several years. The organization had to base on three groups in order to be successful: The bakufu as official organizer, the merchants for providing the goods and thus the capital, and certain bakufu-loyal daimyô and monks who acted as officials, administrators and aides.

The basic situation of the trade between Ming China and Japan was put in a nutshell by Zhèng Xîao (鄭暁, 1499-1566) in his Wúxúe bian (吾学編): “The foreigners want to sell, and want to buy by all means the hundred of goods the barbarians have and China cannot do without.” Each tribute mission contained three categories of goods: The tribute goods, the official articles for trade, and the so-called “supplementary articles for trade” brought by those accompanying the missions. We have records, the Zenrin-koku-hôki (善隣国宝記), of the first tribute goods sent by Ashikaga Yoshimitsu in 1401. These were: 10 horses, 1.000 sheets of thin Japan paper, 100 fans, 3 screens, 1 yoroi, 1 dômaru armour, 10 tachi, 1 katana, 1 ink stone, and 1 small desk. The next mission from 1403 contained some different goods, namely: 20 horses, 10.000 pounds sulphur, 32 smaller and bigger agates, 3 gold-decorated screens, 1.000 yari, 100 tachi, 1 boxed armour, 1 boxed ink stone, and 100 fans. So far the tribute goods. Regarding the official articles for trade, we know detailed records from the Boshi-nyûmin-ki (戊子入明記) compiled by the monk and diplomat Sakugen Shûryô (策彦周良, 1501-1579). Interesting is, that Sakugen noted also the investment necessary for each good to be made and transported to Ming China. This information served later for the projections and the profit maximization of the merchants. For example, Sakugen quotes the price of 150 kan for 100 tachi swords and 53 kan 700 mon for two fancy tachi with dragon ornamentation and nashiji lacquer saya. Before we continue it has to be mentioned that the Ashikaga-bakufu did not mint coins but imported Chinese copper coins to be used as national means of payment. It is interesting to observe that Japan had in face numerous copper mines but exported the copper to China and Korea and reimported minted coins. Chinese copper coins were a much sought-after return present for tribute goods as they stimulated the national economy and were mostly accepted throughout Southeast Asia. We even know of records that the bakufu explicitly asked for copper coins as one and only return gift for certain coming tribute mission. So 1 kan (貫), a coin string weighing 3.75 kg, consisted of 1.000 copper coins (mon, 文).

We know that already the first tribute mission to Ming China using the official kangô-bôeki license from Ôei eleven (1404) took swords with them. There are numerous Chinese records of how cherished Japanese swords were, first of all because of their shaprness and cutting ability, but also because of their splendid mountings. With the restrictions initiated by Hóngwǔ, the Ming court had the monopoly on buying and distributing weapons. Some experts assume that the massive import of Japanese sword was to systematically disarm the Japanese pirates (wakô, 倭寇, Chin. wokòu) which were raiding Chinese coasts since the 13th century. Others assume that the court equipped certain soldiers with them but no definite answer can be read out of the extant documents. I deliverately used the term „certain soldiers“ because the Ming court decided – after the Japanese brought too many swords in their first tribute missions – that it will accept and buy not more than 3.000 swords per mission. Theoretically the Ming court could have had as many swords as needed. However, it can be assumed that the aim of this restriction was to maintain an overview on weapons going round in the country. At the beginning of the sword trade, the Japanese were able to sell them for a multiple of the cost of manufacture. From the diary Roku´on-nichiroku (鹿苑日録) we know that at the time of the tribute mission from Eikyô four (永享, 1432), the costs of one tachi were around 800-1.000 mon but was sold for around 10 kan, i.e. 10.000 mon, what meant a considerable profit and an important source of income for the bakufu. Japan did not follow the 3.000 sword limit very strictly and the mission from Kyôtoku two (享徳, 1453) brought 9.968 swords with them. As a counter-reaction and to somehow stop Japanese merchants from bringing to many swords into the country was, after realizing that the official limit was not obeyed, to push down the price. So it was decided that the Ming court pays no longer 10.000 but 5.000 mon per swords. And when the Japanese brought about 30.000, i.e. ten times the allowed number of swords in the course of their Ônin two (応仁, 1468) mission, the price was further pushed down to 2.500 mon. The whole system was then in a downward spiral when the Japanese tried to maintain the same profit by even increasing the number of export swords. This namely resulted in a considerable decline in quality which in turn prompted the Chinese to further push the price. At the time of the Bunmei 15 (文明, 1483) mission, only 600 mon were paid per sword, and at the time of the Eishô eight (永正, 1511) mission, the price had finally dropped to 300 mon. Incidentally, please note that these years might vary depending on how the missions are counted. Some quote the year the official planning began, others the year the mission left Japan, and others in turn the year it arrived at the Chinese authorities. Regarding, the Bunmei 15 mission, there is a report of a Chinese official extant who complained that besides of the 3.610 swords brought as tribute, the Japanese had 38.610 swords on board as their official articles for trade. This was ten times the permitted number, so the then minister Zhou Hóngmó (周洪謨). Also we learn from the chronicles and tribute records that there were each time discussions between the Japanese and the Ming officials on the acceptance of the swords exceeding the 3.000 limit and the price they are bought for. And to bear the expenses of the bakufu, it was decided on Japanese side that the merchants had to pay tax for what they sold abroad. So the merchants were quasi forced to sell as many goods as possible to reach a certain profit margin which makes the missions attractive at all. But we know that even with these difficulties, the overseas trade, including swords, was quite lucrative.

To summarize: The Eikyô four (1432) mission had loaded 3.000 swords, the Eikyô six (1434) mission also 3.000 swords, the Kyôtoku two (1453) mission 9.968 swords, the Ônin two (1468) about 30.000, the Bunmei eight (1476) mission around 7.000, the Bunmei 15 (1483) mission 38.610, the Meiô two (明応, 1493) and Eishô eight (1511) missions each around 7.000, and the Tenbun eight (天文, 1539) mission 24.152 swords. That makes altogether around 128.000 swords, an average of about 12.800 swords per mission. The very last tribute mission was undertaken in Tenbun 16 (1547) before the system collapsed due to the domestic political problems and the appearance of European competitors in the East Asian waters. Incidentally, I wasn´t able to find a list of how many swords were brought in the course of the last mission or if it contained any swords at all. But the aforementioned number of 128.000 swords over about one century gives us nevertheless a general idea of how many swords were exported to China. The Boshi-nyûmin-ki tells us also something about the lead time for a tribute mission. The preparations for the Ônin two (1468) mission started already in the Hôtoku era (宝徳, 1449-1452), i.e. more than 15 years in advance. On the other hand, the preparations for the Bunmei eight mission took only about two years. So when we take here an average of let´s say five years lead time, around 2.560 swords had to be made in that time to arrive at the aforementioned average of 12.800 swords per mission. This means 512 swords a year, thus more than a sword a day. So when the Bunmei eight mission had only a lead time of two years, 6.400 swords must had been made each year what calculates around 17 swords per day! So the smiths involved in the Ming trade system must had been quite busy. According to contemporary records, most of the export swords were made in Nara and Bizen and the production was mainly managed by Kyôto-based sword dealers who in turn were of course in touch with the bakufu. Another factor which should not be overlooked is the fact that the Ôuchi family (大内), which was largely involved in the overseas trade and tribute missions, were shugo military governors of Buzen and Chikuzen province during that time. So the number of smiths settling there in the early Muromachi period was probably also connected to the mass production of export blades. For example, there exists a tachi signed „Nobukuni“ (信国) which bears a Chinese nengô, namely „ninth month Chénghùa two“ (成化二年九月), what corresponds to the first year of Bunshô (文正, 1466) (see picture 2). This is an important reference pieces as it is one of the very few export swords which did not make it abroad for whatever reason. And this Nobukuni blade is also of special interest as it backs up the transmission of the Kyôto-based sword dealers where the origins of the Nobukuni school were, and the founding of the Kyûshû-offshoot the Tsukushi Nobukuni school (筑紫信国).

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Picture 2: tachi signed „Nobukuni“ and dated „ninth month Chénghùa two“

Back to the prices of the swords. From an intresting entry in the Boshi-nyûmin-ki we learn that the price the Ming court paid was for the blade and the koshirae. The entry in question deals namely with 300 swords which arrived damaged with the Eishô eight (1511) mission. According to the records, the Ming officials sorted out those swords whose hilts and scabbards were damaged and beyond repair and threw them away. So the blade alone was obviously not worthy purchasing, maybe just because there came anyway 4.000 swords more than allowed with this mission. Also we read that swords were damaged by Chinese port staff during unloading the cargo upon which the Japanese got angry as they were not able to repair them locally and lost so a part of the calculated profit. Apart from that there are several Sue-Bizen swords extant which show the value of the sword on the tang. For example a katana by Osafune Norimitsu (則光) dated Kanshô five (1464) worth 5 kan, a wakizashi by Osafune Katsumitsu (勝光) dated Bunmei nine (1477) worth 20 kan, a wakizashi by Osafune Tadamitsu (忠光) dated Entoku two (延徳, 1490) worth 1.000 hiki (疋 = 10 kan), a tantô by Osafune Katsumitsu dated Eishô three (1506) worth 1 kan 500 mon (see picture 3), or a katana by Osafune Sukesada (祐定) dated Eishô twelve (1515) worth 5 kan.

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Picture 3: tantô, mei: „Bishû Osafune Fujiwara Katsumitsu“ (備州長船藤原勝光) – „Eishô sannen nigatsu-hi – dai ikkan gohyaku-mon“ (永正三年二月日・代一貫五百文).

Although it is hard to define inflation and price fluctuation in Muromachi Japan, the prices mentioned on the tangs of these Sue-Bizen blades indicate that they were probably not made for export. As mentioned earlier, the costs for one tachi for the Eikyô four (1432) mission were around 800-1.000 mon, i.e. 0.8-1 kan. The Norimitsu katana from 1464 was worth 5 kan but as we have heard, the Ming court pushed the price for the Ônin two (1468) mission down to 2.500 mon, i.e. 2.5 kan, per blade. So exporting this Norimitsu blade would have meant a loss. And when the Sukesada blade from Eishô twelve (1515) was worth 5 kan, the Japanese swords from the Eishô eight (1511) mission four years early had to be sold for 300 mon, i.e. 0.3 kan. This in turn indicates that the smiths making the export swords really must had been making low-quality kazuuchi-mono that a salling for 0.3 kan still brought some profit! Of course there were surely some fine swords reserved for certain persons but maybe this is a reason why there are not that many swords extant in China which were once bought by the Ming court. We can assume that a sword made for considerably less than 0.3 kan did not survive much fighting action, not to mention repeated battles in the cases handed down within a family. That means the Sengoku-era kazuuchimono extant today must be considered as being of even better quality than the majority of the swords made for export.

Some thoughts on Sue-Bizen horimono

Whilst working on a longer article on Japanese sword exports to China during the Muromachi era, I found an interesting line in Táng Shùnzhi´s (唐順之, 1507-1560) Ode to the Japanese Sword (nihontô no uta, 日本刀歌) which lead me to further studies as I am waiting for a book to arrive from Japan to confirm certain parts of the article in question. Incidentally, we know several of such Odes to the Japanese Sword by Chinese authors, and the earliest is said to go back to the Song Dynasty Ōuyáng Xiū (欧陽脩, 1007-1072). Anyway, the line which attracted my attention was:

身上竜文雑藻荇

shinjô no ryûmon wa sôkô ni majiwaru
“The dragon engraving on the blade is embedded in seaweed.”
 

We know that Japan exported many swords to Ming China at the time of Táng Shùnzhi and most of them were made in the manufacturies of Osafune, and so I started to do some research on horimono from that time and region. First of all it has to be pointed out that contemporary records on swords made for export or the infamous „bundle swords“ hardly ever mention horimono, so most of the data we have goes back to actually extant pieces and some oshigata. The next thing that strikes is that elaborate and complex horimono on Osafune swords, i.e. not suken or bonji and the like, are very rarely found before the Meiô era (明応, 1492-1501) and concentrate on sword dated with the Bunki (文亀, 1501-1504) and Eishô eras (永正, 1504-1521). Just to recollect, the official and regulated trade (kangô-bôeki, 勘合貿易) with Ming China started in Ôei eleven (応永, 1404) and lasted in the mid 16th century when the system collapsed by independent contacts and trades of rich traders with Ming China and the Asian mainland as well as by the appearance of European competitors inthe East Asian waters. Also we observe that horimono in general and elaborate horimono like kurikara-ryû in particular are mostly found on Osafune blades which don´t mention the first name (zokumyô, 俗名) like „Yosôzaemon“ (与三左衛門), „Hikobei“ (彦兵衛) or „Genbei“ (源兵衛) and the like in their signatures. Of course there are some exceptions but experts agree that Osafune blades which mention the zokumyô in their signature are chûmon-uchi (注文打), i.e. made according to an order, whereat those just signed „Bizen no Kuni-jû Osafune“ (備前国住長船) followed by just the name of the smith, e.g. Sukesada (祐定), Kiyomitsu (清光), Tadamitsu (忠光), Katsumitsu (勝光) or Munemitsu (宗光), are by tendency rather kazuuchi-mono (数打物), mass produced swords, or so-called „tabagatana“ (束刀), „bundle swords“. One of the aforementioned exceptions for example is a blade by Yosôzaemon no Jô Sukesada dated Eishô 18 (永正, 1521) which shows a shin no kurikara on the omote and the characters „Kasuga Daimyôjin“ on the ura side (see picture 1).

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Picture 1: katana, mei: „Bizen no Kuni-jû Osafune Yosôzaemon no Jô Sukesada saku“ (備前国住長船与三左衛門尉祐定作) – „Eishô jûhachinen hachigatsu kichijitsu“ (永正十八年八月吉日, „on a lucky deay of the eighth month Eishô 18 [1521]“)

Let us stay with these names of deities for a while. I was able to find an article of Yokota Takao (横田孝雄) published in „Tôken-Bijutsu“ 493 (February 1998) in which he provides a quantitative survey on engraved names of deity on Sue-Bizen swords which goes as follows:

  • Amaterasu Ômikami (天照皇大神): Katsumitsu, Munemitsu, Sukesada – The goddess of the sun and universe, the ancestor of all Japanese emperors, and the major deity in shintô.
  • Hachiman Daibosatsu (八幡大菩薩): Katsumitsu, Munemitsu, Tadamitsu, Sukesada, Nagamitsu (永光) – The god of archery and war incorporating both elements from shintô and Buddhism.
  • Namu Hachiman Daibosatsu (南無八幡大菩薩): Sukesada – Hail to Hachiman, the god of archery and war.
  • Kasuga Daimyôjin (春日大明神): Sukesada – The numinous unit of the associated kami and buddhas/bodhisattvas of the Kasuga-Kôfukuji multiplex, Nara.
  • Sumiyoshi Daimyôjin (住吉大明神): Katsumitsu, Sukesada – The collective of the four deities of the Sumiyoshi-jinja, Ôsaka, which were Sokotsutsu no Onomikoto (底筒男命), Nakatsutsu no Onomikoto (中筒男命), Uwatsutsu no Onomikoto (表筒男命) Okinagatarashihime no Mikoto (息長帯日).
  • Kizuki Daimyôjin (杵築大明神): Sukesada – The collective of the deities worshipped in the Izumo-taisha (出雲大社), Izumo.
  • Yaegaki Daimyôjin (八重垣大明神): Sukesada – The collective of the deities worshipped in the Yaegaki-jinja (八重垣神社), Izumo.
  • Katte Daimyôjin (勝手大明神): Harumitsu (治光) – The collective of the deities worshipped in the Katte-jinja (勝手神社), Nara.
  • Marishi Sonten (摩利支尊天): Katsumitsu, Munemitsu, Sukesada – Marici, the Deva or Bodhisattva associated with light and the sun, also supporting meditative practice to achieve a more heightened spiritual level. Bushi invoked Marishiten to achieve victory since Marici means „light“ or „mirage“, the female deity was invoked to escape the notice of one’s enemies.
  • Marishiten no mikoto (摩利支天尊): Katsumitsu – A variant of Marici.
  • Marishiten Bosatsu (摩利支天菩薩): Sukesada – Marici as Bodhisattva.
  • Fudô Myôô (不動明王): Sukesada – Acala, a fierce guardian deity with a sword in the right hand which represents widsom and cutting through ignorance, and a lariat in the left hand with which he catches and binds up demons.

So with the mentioned observance in mind we can assume that elaborate horimono like dragons and the like were by tendency more applied to mass produced Osafune blades and that wealthy clients had, if at all, by tendency more simple horimono and/or the names of deities engraved. Unfortunately we hardly know any names of horimono-shi before the transition to the shintô era and the great carving masters coming from the school of Umetada Myôju (埋忠明寿). But we know a single name connected to Sue-Bizen horimono, namely those of „Matashirô“ (又四郎), the younger brother of Hei´emon no Jô Tadamitsu (平右衛門尉忠光) who was active around Eishô (永正, 1504-1521). This info goes back to a katana with the nagasa of 63,4 cm which is listed in my Index of Japanese Swordsmiths N-Z, p. 211, and which can be seen in picture 2. The mei reads: „Bizen no Kuni-jû Osafune Tadamitsu no ko Hei´emon no Jô kore o saku horimono otôto Matashirô saku“ (備前国住長船忠光子平右衛門尉作之彫物弟又四郎作, „work of Hei´emon no Jô son of Bizen Osafune Tadamitsu, horimono carved by his younger brother Matashirô“). The blade is dated „Eishô gannen hachigatsu-hi“ (永正元年八月日, „a day in the eighth month Eishô one [1504]“). Apart from this blade, the name of Matashirô only appears at one more blade (picture 3) which is signed: „Bizen no Kuni-jû Osafune Hei´emon no Jô Fujiwara Tadamitsu dô Matashirô kore o saku“ (備前国住長船平右衛門藤原忠光同又四郎作, „made by Hei´emon no Jô Fujiwara Tadamitsu and Matashirô from Osafune in Bizen province“), dated „Bunki ninen mizunoe-inu nigatsu kokonoka“ (文亀二年壬戌二月九日, „ninth day of the second month Bunki two [1502], year of the dog“). Well, it is assumed that this blade is not a joint work (gassaku, 合作) in the strict sense in terms of sword forging as we don´t know any (signed) blade made by a Matashirô Tadamitsu alone. So it is very likely that the blade in question is insofar a joint work as Hei´emon no Jô Tadamitsu forged it and his younger brother Matashirô engraved the horimono.

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Picture 2: katana, mei: „Bizen no Kuni-jû Osafune Tadamitsu no ko Hei´emon no Jô kore o saku horimono otôto Matashirô saku“ (備前国住長船忠光子平右衛門尉作之彫物弟又四郎作) – „Eishô gannen hachigatsu-hi“ (永正元年八月日).

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Picture 3: katana, mei: „Bizen no Kuni-jû Osafune Hei´emon no Jô Fujiwara Tadamitsu dô Matashirô kore o saku“ (備前国住長船平右衛門藤原忠光同又四郎作) – „Bunki ninen mizunoe-inu nigatsu kokonoka“ (文亀二年壬戌二月九日)

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Picture 4: katana, mei: „Bizen no Kuni-jû Osafune Jirôzaemon no Jô Fujiwara Katsumitsu“ (備前国住長船次郎左衛門尉藤原勝光) – „Asakaze“ (朝風, „morning wind“, the nickname of the blade) – „Matsushita Masatoshi shoji“ (松下昌俊所持, „owned by Matsushita Masatoshi“)

Than there is a blade from the very same year and month, i.e. eighth month Eishô one, made by Jirôzaemon no Jô Katsumitsu (次郎左衛門尉勝光) (see picture 4) which shows almost identical horimono. Thus it is assumed that they too were engraved by Matashirô. And then there is a very similar kurikara-ryû found on a blade by Hei´emon Tadamitsu from the eight month Eishô one, but which was made when he stayed in Innoshô (院庄) in Mimasaka province as it is mentioned on the tang. Even when we take into consideration that the eight month might not point out the month the blade was actually made (as stated in one of my previous articles), it is still rather unlikely that Matashirô accompanied his brother to Mimasaka province and engraved at the same time horimono to blades of Jirôzaemon no Jô Katsumitsu. Because modern horimono-shi also say that even if you take into consideration the working conditions of that time, it still took probably a month or so to engrave such an elaborate kenmaki-ryû. So it is likely that Matashirô was the head of a specialized workshop which just did horimono and maybe various hi. And the craftsmen under his command surely used the sketches of the master and engraved them as faithfully as possible onto blades for which horimono were ordered.

So far this little excursus to the world of Sue-Bizen horimono and a lengthy article on the Japanese sword exports to Ming China will follow after receiving reference material from Japan.