Gotoba Joko – Study of Japanese Sword

February 2, 2019December 5, 2025 Yurie Endo 遠藤由利江 11| «Part 2» Jyokyu-no-Hen (1221) and Gotoba-Joko, Uncategorized

43 | Part 2 of –10 Jyokyu-no-Ran and Gotoba-joko (承久の乱)

This chapter is a detailed part of Chapter 10, Jyokyu-no-Ran (承久の乱 ) 1221. Please read Chapter 10 before reading this section.

0-timeline - size 24 jyokyuu no ran

The red circle above indicates the time we discuss in this chapter.

Chapter 10 explained how Jokyu-no-ran (承久の乱) started. In the end, Emperor Gotoba (or Gotoba Joko) was exiled to Oki Island (隠岐の島).

Emperor Gotoba was a highly talented individual in many fields. He was good at waka (和歌), a Japanese short poem. To compose a waka requires including several elements, such as scenery, the season, personal feelings expressed with refined sentiment, or the surrounding environment, all within a very limited number of words. It requires literary talent. He was also proficient in equestrianism, kemari (a ball game played by the upper class at that time), swimming, sumo wrestling, music, archery, swordsmanship, calligraphy, painting, and even sword-making. His contributions to the sword field led to the golden age of sword-making during the middle Kamakura period. Surprisingly, Gotoba Joko was not only talented in many different arts but also mastered them at the highest level. His waka (poetry) was particularly highly regarded. He edited the Shin- Kokin- wakashu (新古今集), a collection of 1980 waka poems.

Emperor Gotoba, Enthroned at the Age Four

Emperor Gotoba was enthroned at the age of four (some say three). The problem was that Emperor Antoku was already on the throne. They were both about the same age. Having two emperors simultaneously creates a problem. How did this happen?

To establish a new emperor, the head of the imperial family must appoint the next emperor. While Emperor Go-Shirakawa (後白河天皇) was imprisoned, Emperor Antoku was appointed by Taira-no-Kiyomori (平清盛). Although Kiyomori was the head of the Heishi, the most powerful samurai group, he was not a member of the imperial family. That went against tradition. This was unacceptable to Emperor Go-Shirakawa (後白河天皇). Emperor Go-Shirakawa was furious at Taira-no-Kiyomori; he chose Emperor Gotoba and enthroned him. This is why the two emperors coexisted.

There was one more thing. To be an emperor, one must possess the Sanshu-no-jingi (三種の神器: Three imperial regalia). These are the three items an emperor needs to have to be a legitimate emperor. They are a mirror, a sacred sword, and a magatama (jewelry)*.

However, the Sanshu-no-jingi were taken by the Heike family along with Emperor Antoku when they fled from the Genji. The Heike clan was chased by the Genji all the way to Dan-no-ura (壇ノ浦), where they were defeated. Dan-no-ura is a sea located between Kyushu (九州) and Honshu (本州). When it became clear to the Heike family that they had been defeated, all of the Heike people, including the young Emperor Antoku, jumped into the sea and drowned. They took the Sanshu-no-jingi with them into the sea.

Later, people frantically searched for the Sanshu-no-jingi; however, they only recovered the jewelry and the mirror, not the sword. Because of tradition, the emperor must possess the Sanshu-no-jingi; otherwise, he would not be recognized as a legitimate emperor. Gotoba Joko was tormented for a long time for not having all three.

Today, the jewelry is with the current emperor’s family, and the mirror is at the Ise Jingu Shrine (伊勢神宮). The sword is still missing somewhere in the ocean. Some say that the sword that fell into the sea was a replica, and the one kept at Atsuta Jingu Shrine (熱田神宮) is the real one. * Sanshu-no-Jingi (三種の神器) ————- 1. The sword; Kusanagi-no-tsurugi (草薙の剣) 2. The mirror; Yata-no-kagami (八咫の鏡), 3. The magatama (Jewelry); Yasakani-no-magatama (八尺瓊勾玉) by Token World: www.touken-world.jp/tips/32747/

Politics by Emperor Gotoba

Emperor Gotoba sought to regain political power from the Kamakura bakufu. He was impulsive, passionate, unpredictable, and quick-tempered. He tried to revive the Chotei (朝廷) power. The Chotei is the central government controlled by the emperor and aristocrats. Emperor Gotoba decided to rely on the armed forces to achieve this goal and established the Saimen no Bushi (armed forces directly under the emperor).

Upon seeing Minamoto-no-Sanetomo dead, he realized that the Kamakura bakufu was in turmoil. Recognizing this as a good chance, he sent out the emperor’s order to all the daimyo to fight against the Kamakura bakufu. He expected an easy victory, but the Kamakura bushi remained strongly united and fought well under Hojo Masako’s leadership, the “Nun Shogun.” She organized a strongly united armed force, while Emperor Gotoba’s side was disorganized. They were not accustomed to fighting.

In the end, Emperor Gotoba’s side lost. When he realized he had lost, he claimed it was not he but his men who had acted independently. He insisted that it had nothing to do with him. Therefore, it was wrong to punish him. But of course, Hojo Masako and the Kamakura bakufu did not believe Emperor Gotoba and exiled him to Oki Island. Emperor Gotoba ended his life there. Although he was intelligent and accomplished in many areas, he could not defeat the grandma, “Nun Shogun,” Hojo Masako.

Sword-Making by Gotoba Joko

Gotoba Joko had an exceptional ability to evaluate swords, and he became a great swordsmith himself. He invited many top-level swordsmiths from various groups to his court, gave them titles, and treated them with respect. He also appointed them as his instructors and assistants. Gotoba Joko brought in skilled swordsmiths from various places in rotation. Those who were invited to the palace were called gobankaji (御番鍛冶), an honorary title. On the sword he created, he inscribed a chrysanthemum with 16 petals. The current emperor still uses this design as his imperial crest. The sword with the chrysanthemum design is called Kikugosaku (菊御作).

Today, you can visit the Emperor Gotoba Museum on Oki Island, where some sites are believed to be the emperor’s sword-making site. Some people say it is debatable whether these sites are real. Today, Oki Island is a beautiful resort destination. It can be reached by ferry from Shimane Prefecture, which takes about two hours. It can also be reached by airplane directly from Osaka.

11 «part 2» Gotoba Joko photo

Gotoba Joko, owned by Minase Shrine (This picture is in the public domain)

January 26, 2019December 5, 2025 Yurie Endo 遠藤由利江１０｜«Part 2»　Middle Kamakura Period ---Bizen-Den, Uncategorized

42|Part 2 of — 9 Middle Kamakura Period : Bizen Den (鎌倉中期備前伝)

This chapter is a detailed part of Chapter 9. Please read 9 | Middle Kamakura Period (Bizen Den) 鎌倉中期備前伝 before reading this chapter.

0-timeline - size 24 Middle Kamakura

The red circle indicates the time we discuss in this section

The middle Kamakura period marked the height of the Bizen-den. In many regions outside Bizen, sword styles often reflected local preferences and politics in specific areas. However, the Bizen sword has its own style and has not been significantly influenced by these elements throughout time. The clients of Bizen swords come from across the country. Therefore, Bizen swordsmiths created swords that appealed to everyone.

The general style of Bizen Den

In general, their style appeals to everyone.
The shape, the width of the blade, the thickness of the body, and the tempered line are of standard size or usual design, rarely out of the ordinary.
Nioi base
Soft feeling Ji-gane (steel)
Utsuri (cloud-like shadow) appears.
The tempered line tends to have a consistent width, neither too wide nor too narrow.

Fukuoka Ichimonji group

Names of swordsmiths among the Fukuoka Ichimonji group

Fukuoka Ichimonji Norimune (福岡一文字則宗) and Fukuoka Ichimonji Sukemune (福岡一文字助宗) were the leading swordsmiths of the Fukuoka Ichimonji group (福岡一文字). From this group, six swordsmiths, including Norimune and Sukemune, received the honor of “Gobankaji” from Emperor Gotoba (後鳥羽上皇). I saw Fukuoka Ichimonji Muneyoshi (福岡一文字宗吉) in Mori Sensei’s class on June 25, 1972. My notes pointed out a lot of utsuri (shadows) on the blade.

Sugata (shape) ——————- A graceful and elegant shape. Generally, it has well-balanced proportions. The difference between the top width and the bottom width is minimal. Occasionally, a stout-looking kissaki called ikubi-kissaki (refer to Chapter 11, Ikubi Kissaki (猪首切先) appears.

Hi and Engraving ———–The tip of the hi may follow the ko-shinogi line. See below. The end of the hi goes under machi, ends with a square or kakinagashi (see Chapter 41)

44 hisaki agaru

Hamon ———- Wide ichimonji-choji tempered line. It indicates the consistent width of the tempered line from the bottom to the top. The same hamon appears on both sides. O-choji-midare (large clove-like pattern), juka-choji (overwrapped-looking choji). Nie base. Inazuma and/or kinsuji may appear.

Boshi ————– Same Hamon continues into the Boshi area and ends with Yakizume or turns slightly. Sometimes O-maru.

Jihada ———– A fine and soft appearance. Itame (woodgrain pattern). Lots of utsuri (cloud-like shadow or reflection)

44 Ichimonjio hamon

Ichimonji Sano Museum Catalogue (佐野美術館)　Permission granted

*The sword above is o-suriage. The end of the hi is lower than the mekugi-ana inside the nakago.

January 19, 2019December 4, 2025 Yurie Endo 遠藤由利江 9| «Part 2» Middle Kamakura Period Yamashiro Den, Uncategorized

41| Part 2 of — 8 Middle Kamakura Period: Yamashiro Den 鎌倉中期山城伝

This chapter is a detailed part of Chapter 8| Middle Kamakura Period –Yamashiro Den（鎌倉中期山城伝). Please read Chapter 8 before reading this chapter.

0-timeline - size 24 Middle Kamakura

　　　　　The red circle indicates the time we discuss in this section

During the middle Kamakura period, the Yamashiro–den consisted of 3 main groups: the Ayano-koji (綾小路) group, the Awataguchi (粟田口) group, and the Rai (来) group.

When referring to a specific group, we use terms like “xxx ha,” “xxx ippa,” or “xxx ichimon.” We use these three terms interchangeably. They all mean “group.” For example, when we say “Ayano-koji ippa,” we refer to the Ayano-koji group.

Ayano-koji Ippa (綾小路)

Sugata (shape) —————–Generally, a gentle or graceful kyo-zori shape. The difference in width between the yokote line and the machi is minimal. The sword is slender, yet thick, with a small kissaki. 　　　

Hi and Engraving ———————– Bo-hi (single groove) or futasuji-hi (double grooves)

Hamon ——————— Nie base with ko-choji (small clove shape) and ko-midare (small irregular). Small inazuma (lightning-like lines) and kinsuji (golden streaks) may be present. Double ko-choji (two ko-choji side by side) may appear.

Boshi (tempered line at the kissaki area) ———————– Ko-maru (small round), yakizume (see the illustration below ), and kaen (flame-like pattern)

Ji-hada —————– Small wood grain with a little masame (straight grain). Ji-nie shows.

Nakago (hilt) ———————— Long, slightly thick feel

Ayano-koji Ippa swordsmiths ———-Ayano-koji Sadatoshi (綾小路定利) Sadanori (定則）

Awataguchi Ichimon (粟田口)

Many swordsmiths from the Awataguchi Ichimon (or Awataguchi group) were honored as the Goban Kaji (the top swordsmith) by Gotoba Joko, Emperor Gotoba (後鳥羽上皇). Their general characteristics are as follows.

Sugata (Shape) ————————- Elegant torii-zori (or kyo-zori) shape.

Hi and Engraving ————– The tip of the hi extends all the way up and fills in the ko-shinogi. The end of the hi can be maru-dome (the end is round), kaku-dome (the end is square), or kakinagashi.

9 «part 2» 大小丸,焼詰,丸角止, 掻流　　

Maru-dome (rounded end) Kaku-dome (square) Kakinagashi

Hamon ———— The slightly wider tempered line at the bottom, then it becomes narrower at the top. Nie base (called Nie-hon’i). A straight tempered line mixed with ko-choji (small cloves) or a wide straight line combined with choji. Awataguchi-nie appears. Awataguchi-nie, which refers to a fine, deep, sharp, shiny nie that appears around the tempered line area. Fine inazuma (lightning-like lines) and kinsuji (golden streaks) emerge.
Boshi (tempered line at the tip area) —————— Ko-maru (small round) and/or O-maru (large round). The return is sharrow. Yakizume, Nie Kuzure, and Kaen (flame)

Yakizume 　　　　　O-maru　　　　　Ko-maru　　　 Yakikuzure

Ji-hada ————– Fine ko-mokume (wood swirls) with ji-nie. Ji-nie is nie on ji-hada. Yubashiri and/or chikei appear.
Nakago ——————————– Often featuresa two-letter inscription
Names of Awataguchi swordsmiths —– Awataguchi Kunitomo (粟田口国友 ), Hisakuni (久国), Kuniyasu (国安), Kuniyasu (国安), Kunikiyo (国清)

Rai Ha (来)

The general characteristics of the Rai group are as follows. However, each swordsmith has their own unique traits.

Sugata (shape) ——– Graceful and dignified. Thick body. Rai forged Ikubi Kissaki. Hi and Engravings ————————- Wide and shallow hi. Hamon ————————- Nie base. Suguha (straight). Wide suguha with ko-midare (small irregular) and choji (cloves). Sometimes, there is a large choji at the lower part and a narrow suguha at the top. Inazuma and Kinsuji appear around the yokote area. Boshi ————————————- Komaru, yakizume (see the illustration above) Ji-hada ——————— Finely forged itame (small wood grain). Sometimes mixed with masame (parallel grain). Fine nie. Rai group’s swords occasionally show yowai tetsu (weak surface), which may be the core iron.

Rai Ha swordsmiths———————- Rai Kuniyuki (来国行), Rai Kunitoshi (来国俊) or Niji Kunitoshi (二字国俊), Ryokai (了戒 ). Rai Kunitoshi is said to be the son of Rai Kuniyuki. Ryokai is said to be the son of Rai Kunitoshi.