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

This chapter is a continued part of 10| Jokyu-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 described how Jokyu-no-Ran (承久の乱) had started.  In the end, Emperor Gotoba (or Gotoba Joko) was exiled to Oki Island (隠岐の島).

Emperor Gotoba was a very talented man in many fields.  He was very good at Waka (和歌), Japanese short poem.   To compose Waka, you are required to include several elements such as scenery, a season, one’s inner feeling with the refined sentiment, or the surrounding state, within the very limited number of words.  It requires a literary talent.  He was also good at equestrianism, Kemari (a ball game for upper-class men at that time), swimming, Sumo wrestling, music, archery, swordsmanship, calligraphy, painting, and even sword-making.  His contribution toward the sword field created the golden age of Sword making in the middle Kamakura period.  Surprisingly, Gotoba Joko was not just good at things in many different areas, but he mastered them to the top level.  Especially his Waka (poetry) was highly regarded.  He edited Shin Kokin Wakashu (新古今集), which was 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 Emperor Antoku had already existed at the same time.  They were both about the same age.  Two emperors at the same time was a big problem.  How did it happen?

To have a new emperor, the head of the emperor’s family had to appoint the next emperor.  While the Emperor Go-Shirakawa (後白河天皇) was in jail, Emperor Antoku was set by Taira no Kiyomori (平清盛).  Though Kiyomori was the head of the Heishi, the most powerful Samurai group, he was not from the emperor’s family.  That was against the tradition.  This was not acceptable for Go-Shirakawa Emperor (後白河天皇).  Emperor Go-Shirakawa was furious at Taira no Kiyomori and picked Emperor Gotoba and enthroned him.  This is the reason why two emperors coexisted.

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

But Sanshu-no-Jingi were taken by the Heike family together with Emperor Antoku when they fled from the Genji.  The Heike clan was pushed by the Genji all the way to Dan-no-Ura (壇ノ浦), and they were defeated there.   Dan-no-Ura is a sea between Kyushu (九州) and Honshu (本州).  When it became clear for the Heike family that they were defeated, all the Heike people, including the young Emperor Antoku, jumped into the sea and drowned.   They took Sanshu-no-Jingi with them into the ocean.

Later, people searched for the Sanshu-no-Jingi frantically; however, they recovered only the Jewelry and the Mirror but not the Sword.  Because of the tradition, the emperor must have Sanshu-no-Jingi; otherwise, he was not recognized as a legitimate emperor. Gotoba Joko was tormented for a long time for not having all three.

Today, the Jewelry is with the present Emperor family, and the Mirror is with Ise Jingu Shrine (伊勢神宮).  The Sword is still missing somewhere in the ocean.  Some say that the lost Sword down into the sea was a copy and 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 wanted political power back from the Kamakura Bakufu.  He was a very impulsive, passionate, unpredictable quick-tempered person.   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.  He set up a Saimen no Bushi (armed forces directly under Emperor Gotoba’s command).

When he saw Minamoto no Sanetomo was killed, he realized Kamakura Bakufu must have been in turmoil.  Thinking this was a good chance, he sent out the emperor’s order to all the daimyos to fight against Kamakura Bakufu.  He expected an easy victory, but Kamakura Bushi was united tightly and fought well under Hojo Masako’s leadership, the “Nun Shogun.”  She organized one tightly united armed force, whereas the Emperor Gotoba side was not very organized.  They were not used to fighting.

In the end,  the Emperor Gotoba’s side lost.  When he realized he had lost, he claimed it was not him, but his men did it independently.  He insisted that it had nothing to do with him. Therefore, it was wrong to punish him.  But of course, Hojo Masako and Kamakura Bakufu did not believe Emperor Gotoba and exiled him to Oki Island.  Emperor Gotoba ended his life there.  Although he was so smart and accomplished in so many different fields, he could not win against the grandma “Nun-shogun,” Hojo Masako.

Sword-Making by Gotoba Joko

Gotoba Joko had a superior ability to evaluate swords, and he became the superior swordsmith himself.   He invited many top-level swordsmiths from different sword groups to his court, gave them a title, and treated them respectfully.  Also, he made them his instructors and assistants.  Gotoba Joko brought in skilled swordsmiths from many 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 present emperor still uses this design as the emperor’s crest.  The Sword with the chrysanthemum design is called Kiku Gosaku (菊御作).

Today, you can visit the Emperor Gotoba Museum on Oki island, and there are a few sites that are believed to be the emperor’s sword making site.  Some people say it is debatable if the sites are real.  Today, Oki Island is a beautiful resort island.  It can be reached by ferries from Shimane Prefecture, which takes about 2 hours by boat.   Also, it can be reached by airplane directly from Osaka.

45 part 2 of ---11Oki-no-Shima map

11 «part 2» Gotoba Joko photo
Gotoba Joko (owned by Minase Shrine) This picture is public domain

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 was the height of the Bizen Den.  In different regions other than Bizen, swords styles often reflected people’s preferences and politics in the particular areas.  But the Bizen sword had its own style and was not affected much by those elements throughout the time.  The clients of Bizen swords came from all over the country.  Therefore, the Bizen swordsmiths created the swords liked by everybody. 

The general style of Bizen Den

  • In general, their style is likable by everybody.
  • The shape, the width of the blade, the thickness of the body, and the tempered line are a standard size or usual design, seldom out of the ordinary.
  • Nioi base
  • Soft feeling Ji-gane (steel)
  • Utsuri (cloud-like shadow) appears.
  • The tempered line tends to have the same width, not too wide, not too narrow.

Fukuoka Ichimonji group

 Names of swordsmiths among Fukuoka Ichimonji group

Fukuoka Ichimonji Norimune (福岡一文字則宗),  Fukuoka Ichimonji Sukemune ( 福岡一文字助宗  )Those two were the main swordsmiths among the Fukuoka Ichomonji group (福岡一文字 ).  From this group, six swordsmiths including  Norimune and Sukemune, received the honor as the “Gobankaji” from Emperor Gotoba (後鳥羽上皇 ).   I saw Fukuoka Ichimonji Muneyoshi (福岡一文字宗吉) at Mori Sensei’s class on June 25, 1972.  My note pointed out a lot of Utsuri (shadow) on the blade.

 Sugata (shape) ————– Graceful and classy shape.  Generally, well- proportioned shape.  The difference between the top width and bottom width is not much.  Sometimes stout-looking Kissaki like Ikubi-kissak (refer 11| Ikubi Kissaki (猪首切先)  appears.

Hi and Engraving ———-The tip of Hi may follow the Ko-shinogi line.  See below.  The end of Hi goes under Machi ending with square, or Kakinagashi  (refer to 41| Part 2 of —– 8 Middle Kamakura Period (Yamashiro Den) 鎌倉中期山城伝 )

44 hisaki agaru

Hamon  ———- Wide Ichimonji-choji tempered line.  It means the same width tempered line from the bottom to the top.  The same Hamon front and back.  O-choji-midare  (large clove-like pattern), Juka-choji (overwrapped-looking Choji).  Nie base.  Inazuma and/or Kinsuji appear.

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

Jihada ———– Fine and a soft look.  Itame (Woodgrain pattern).   Lots of Utsuri (cloud-like shadow or reflection)

10«part 2» ichimonji photo

44 Ichimonjio hamon

Ichimonji  Sano Museum Catalogue (佐野美術館) Permission granted  Above sword is O-suriage.  The end of Hi is lower than Mekugi-ana inside Nakago.

 

           

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, there were three main groups among the Yamashiro Den.  They are Ayano-koji (綾小路) group, Awataguchi (粟田口) group, and Rai (来) group.

When we refer to a certain group, we say, “xxx haxxx ippa   “, or  “xxx ichimon “.  We use those three words interchangeably.  They all basically mean a “group”.  For example, we say Ayano-koji Ippa, means Ayano-koji group.

Ayano-Koji Ippa (綾小路 )

  • Sugata (shape) —————- In general, gentle or graceful Kyo-zori shape.  The difference between the width of the Yokote line and Machi is not much.  The sword is slender yet thick.  Small Kissaki 
  • Hi and Engraving ———————- Bohi (one groove) or Futasuji-hi (double grooves)   
  • Hamon ————————– Nie base with Ko-choji (small clove shape) and Ko-midare (small irregular).  Small Inazuma (lightning like line) and Kin-zuji (golden streak) may show.  Double Ko-choji (two Ko-choji side by side) may appear.                                     
  • Boshi (tempered line at tip area) ——————Ko-maru (small round), Yakizume (refer to 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 fat feeling
  • Ayano-Koji  swordsmiths——Ayano-koji Sadatoshi (綾小路定利), Sadanori (定則)

Awataguchi Ichimon (粟田口)

Many swordsmiths from Awataguchi Ichimon (group) received the honor of the Goban Kaji (meaning top swordsmith) from Gotoba Joko (Emperor Gotoba 後鳥羽上皇 ).  Their general  characteristic is as follows.

  • Sugata (Shape) ————————————– Elegant shape Torii-zori (or Kyo-zori) shape
  • Hi and Engraving ————– The tip of Hi comes all the way up and fill in the Ko-shinogi.  The end of the Hi can be Maru-dome (the end is round), Kakudome (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 narrow tempered line at the top.  Nie base (this is called Nie-hon’i).  Straight tempered line mixed with Ko-choji (small clove) or wide straight line mixed with choji.  Awataguchi-nie appears.  Awataguchi-nie means fine, deep and sharp shiny Nie around tempered line area.   Fine Inazuma (lightning-like line) and Kinsuji (golden streak) appear.
  • Boshi (tempered line at the tip area) ————- Ko-maru (small round)  or O-maru (large round).   The return is sharrow.  Yakizume, Nie Kuzure, and Kaen (flame)9-«part-2»-大小丸焼詰丸角止-掻流-1-e1547925390685.jpg

Yakizume      O-maru     Ko-maru         Yakikuzure

  • Ji-hada ————- Fine Ko-mokume (wood swirls) with Ji-nie.  Nie on Ji-hada. Yubashiri, Chikei appears.                                                                                                     
  • Nakago ——————————– Often 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 ()

A general characteristic of Rai group is as follows.  However, each swordsmith has own characteristics.

  • Sugata (shape) ———— Graceful with dignity.  Thick body.  Rai made Ikubi Kissaki.   
  • Hi and Engravings ———————— Wide and shallow Hi.                                                       
  • Hamon —————— Nie base.  Suguha (straight).  Wide Suguha with Ko-midare (small irregular) and Choji (clove).  Sometimes large Choji at the lower part and narrow Suguha at the top.  Inazuma and Kin-suji appear around Yokote area.
  • Boshi ————————————  Komaru, Yakizume (refer to the illustration above)
  • Ji-hada ———– Finely forged Itame (small wood grain) sometimes mixed with Masame (parallel grain).  Fine Nie.  Rai group sporadically shows Yowai Tetsu (weak surface) which may be the core iron.
  • Swordsmiths of Rai Ha —— Rai Kuniyuki (来国行), Kunitoshi (国俊), Ryokai (了戒 ) 

Rai Kunitoshi is said to be Rai Kuniyuki’s son.  Ryokai is said to be Rai Kunitoshi ‘s son.

img017

    Rai Kuniyuki (来国行)Once my family sword, photo taken by my father with his  writing.    
9 «part 2» Rai Kuniyuki photo.jpg       Rai Kuniyuki hamon
Rai Kuniyuki (来国行)Sano Museum Catalogue (佐野美術館)  (permission granted)