Show and Tell 5: Scorned Women in Tokugawa Japan

By: AJ Witte

In the world of “Yotsuya Kaidan,” where social standing and family background play a crucial role in determining one’s position in society, “A woman’s socioeconomic position, turn, was determined by her family’s social standing” (Yonemoto 3). Marcia Yonemoto in her book The Problem of Women in Early Modern Japan writes about how much of how a woman was treated was very dependent on where her family sat in the grander hierarchy of society around them. O-Iwa’s character embodies the struggles and challenges faced by women within the confines of the Tokugawa-era Ie family system. Her lack of privilege and her lower socioeconomic status, coupled with her husband Iemon’s position as a Ronin, make her particularly vulnerable within the social hierarchy.

The play, through its focus on O-Iwa’s plight and her subsequent transformation into a vengeful spirit or, onryo, a woman was wronged in her life and eventually comes back as a vengeful spirit (Scherer 77). O -Iwa’s eventual transformation calls into question the treatment of women in Tokugawa Japan. It shines a light on the limited agency and the oppressive nature of societal expectations that placed women in subservient roles, bound by the decisions and actions of their male counterparts. Specific to Yotsuya Kaidan is the idea that marriage is a rather transactional action which can be used to advance one’s own society position. Iemon, through his want to rise the societal ranks by marrying O-Ume, is essentially casting aside his previous wife of O-Iwa for the promise of gaining a master and, what he believes to be, a prettier woman. (Scherer 75).

By presenting O-Iwa as the main character and the driving force behind the narrative, “Yotsuya Kaidan” challenges the traditional gender norms and provides a platform for exploring the experiences and perspectives of women. O-Iwa’s transformation into a powerful and vengeful ghost not only gives her agency but also serves as a symbol of resistance against the patriarchal injustices imposed upon her. She is able to step outside of not only her role as a women in the ie system, but rather, becomes a force or stand in for the female struggle found in Tokugawa Japan, “The example of O-Iwa elucidates the ambivalence that was inherent of female ghosts of the Edo period. She is a female character who after her death, has a strong presence, stands up for herself and relentlessly pursues her revenge,” (Scherer 78).

Furthermore, the casting choice of having actors who typically played male roles take on the role of O-Iwa signifies a deliberate departure from the norm. (Scherer 78).  It serves as a visual cue to the audience, emphasizing that O-Iwa is not simply a side story or a supporting character but the central figure whose story demands attention and respect. This decision not only amplifies O-Iwa’s presence but also challenges the conventional portrayal of women on stage and highlights the importance of her character within the narrative, it strikes me as especially interesting as they are subtly implying that the character of O-Iwa is equally as important as traditionally male role, as we know, female actors were something of a taboo.

Through the character of O-Iwa, “Yotsuya Kaidan” invites its audience to contemplate the role of women in Tokugawa society and raises questions about the inherent injustice and limitations imposed upon them. It serves as a poignant critique of the societal structures that marginalized and oppressed women based on their family background and social standing, “We also see, however, that although family interests could and did severely restrict women, under certain circumstances, as the case of Kiyo illustrates, it could also justify the transgression of customs and laws that favored men, such as marital residence, primogeniture, and head of household succession,” (Yonemoto 6). This is where we see Iemon’s true devious nature throughout the play, as he understands these concepts. For example, through his wish to marry into a far higher social status, he therefore leaves his wife in the dust, or quite literally, he wished to frame her for adultery.

Yotsuya Kaidan offers a glimpse into the struggles faced by women in a rigidly structured society and prompts reflection on the need for societal change and the empowerment of marginalized voices. In this way, Yotsuya Kaidan transcends its status as a mere ghost story and becomes a powerful commentary on gender, social hierarchy, and the consequences of societal expectations.

A painting of O-Iwa, she is depicted as a ghastly Onryo, or a female spirit who has come back to haunt whoever has done her wrong. Her long black hair reaches the floor behind her. She is seen clutching the corpse of a baby. Her right eye is disfigured. Behind her sits trees wth her spirit seeming to be coming out of a lamp.
A painting of O-Iwa

References:

Yonemoto, M. (2016). The Problem of Women in Early Modern Japan (1st ed.). University of California Press. http://www.jstor.org/stable/10.1525/j.ctt1f5g4zz
Scherer, E. (2014). Haunting gaps: gender, modernity, film and the ghosts of Yotsuya Kaidan. Journal of Modern Literature in Chinese, 12(1), 73-88.

Introduce an Image: Tokugawa Tomb at Nikko

By; AJ Witte

This a sepia tone photo of the tomb of Tokugawa Ieyasu. His tomb rests upon a set of small brick stairs. In front of said stairs appears to be a small statue of what appears to be a heron. In the back we see woods towering over the tomb itself.

Tokugawa Tomb at Nikko

This is a photo of a shrine which through my research seems to be the tomb of Tokugawa Ieyasu (Japan Guide). There is what seems to be a small shrine which I would assume holds various personal items or maybe even his Ieyasu’s ashes, sitting atop a set of brick stairs. To the front of the stairs sits a small statue of what I would assume to be a heron. The photo was commissioned sometime between the years of 1870 and 1889 (New York Public Library). The photo seems to be currently held by the New York Public Library which is located specifically in the Miriam and Ira D. Wallach division of Art, Prints and Photographs: Photography Collection (NYPL). I could not seem to find who exactly took this photo. This connects to what we have learned as this is the resting place of Tokugawa Ieyasu himself, the founder of the Tokugawa shogunate (Totman). An interesting point about this photo is that if you are to look up this exact same tomb, it is now a very lavish and famous tourist attraction. This of course makes sense, as someone as famous as Tokugawa Ieyasu should have a very lavish and fancy final resting place.

Sources:
https://digitalcollections.nypl.org/items/510d47d9-c67d-a3d9-e040-e00a18064a99
https://www.japan-guide.com/e/e3801.html

https://www.britannica.com/biography/Tokugawa-Ieyasu

American Capitalism’s Echo’s of the Ie System: Week 14

By: AJ Witte

This past week we learned about many different things regarding life and aesthetics in the Tokugawa era. However, one of the most interesting things that we read about was the concept of ie as it pertains to the development of the close knit corporation like families seen throughout the Tokugawa period. I would like to therefore contrast the concept of ie to American capitalism and how we measure and structure corporations. I would like to preface this by saying that this is by no means a commentary on either capitalism or the Japanese system of ie, I just found it interesting the various similarities that seemed to crop up as I was reading this specific section of the chapter.

One of the key similarities that I found was the shared emphasis on the importance of corporate interest and continuity. In the case of the ie system, this meant that decisions regarding property, status, and advantage were made by the male head of the household, specifically only as a representative and steward of the ie itself. This ensured that the interests of the family or household were prioritized over those of any individual member. Much like how a CEO or the president of a company will be the final say in various dealings of a corporation, the head of the ie will make the bulk of the decisions regarding the trajectory and holdings of the family itself.


Similarly, American capitalism prioritizes the success and growth of the corporation, with decision made based on what is best for the company as a whole. This focus on the collective interest is reflected in the concept of a “corporate culture” which emphasizes shared values, goals, and identity among employees and stakeholders.

This “corporate culture” and importance of continuity often can be seen in the grooming of potential future presidents of a corporation, this has been historically characterized by a focus on family dynasties and the passing down of wealth and power from one generation to the next. This has led to a concentration of wealth and power in the hands of a small number of elite families, who are able to use their resources to influence politics and shape public policy.

This is not to say that the two systems are completely alike, there are many key differences between the ie system and American capitalism. One of the notable being the emphasis on individual achievement and success in American capitalism, which stands in contrast to the more hierarchal, headless ie system. The family above all else whereas we often can see corporate CEO as public figures in and among themselves, with their company being more of a backdrop for their individual success. Think Elon Musk, or Jeff Bezos in this regard.

Overall, there are a few facets of the Ie system which reminded me of various aspects of what many would call corporate culture and dynastic companies found in the modern United States. While as stated this is not a 1 to 1 comparison, it is definitely interesting to examine how a familial system from Tokugawa era Japan can share similarities to our own modern day economical system.

This is a painting of a Japanese family during a meal. They are all pictured sitting around the various food items. Some members are pictured holding bowls, with one even taking a sip. The man in the middle of the frame is seen doleing out food to another member.

A Painting Of a Japanese Family

Sources:
Japan Emerging: Premodern History to 1850, edited by Karl F. Friday. New York, NY: Routledge, 2018. https://muhlenberg.on.worldcat.org/oclc/787849954.

The Perks of Isolation: Week 13

By: AJ Witte

The Edict of 1635, also Known as the “Sakoku Edict,” marked a significant turning point in Japan’s relations with the outside world. By ordering the closing of Japan’s borders to foreigners, the Tokugawa Shogunate effectively cut off the country from the rest of the world for over two centuries. While this policy had many negative consequences, there were also many benefits to Japan’s isolationism.

Pictured here is the clan symbol of the Tokugawa Shogunate. It is an all yellow circle with three golden leaves within said circle.

A Picture of the Symbol of the Tokugawa Clan

One of the main benefits of closing Japan’s borders was the preservation of Japanese culture and traditions. During the previous century, Japan had experienced a period of rapid cultural exchange with the European nations, resulting in the introduction of new technologies, ideas, and customs. However, this exchange had also led to significant social and political upheaval, including the spread of Christianity and the rise of powerful daimyos who sought to align themselves with European powers. By closing its borders, Japan was able to maintain its unique cultural identity and avoid the cultural and political disruptions that had plagued it in the past.

Another benefit of Japan’s isolationism was the development of a strong sense of national identity. Without the influence of foreign powers, Japan was able to focus on building a strong centralized government and a cohesive national culture. This process was aided by the fact that Japan had already developed a highly centralized feudal system prior to the Sakoku Edict, which allowed the Shogunate to maintain strict control over the country’s economy and society. As a result, Japan emerged from its isolation period as a unified and cohesive nation, with a strong sense of national pride and identity.

Japan’s isolation also allowed it to develop its own unique economical system. Prior to the Sakoku Edict, Japan had been heavily reliant on trade with European powers, particularly Portugal and Spain. However, this trade had often been conducted on unequal terms, with European powers taking advantage of Japan’s relative weakness to extract favorable trade agreements. By closing its borders, Japan was able to develop a self sufficient economy that relied on domestic production and trade with neighboring countries like China and Korea. This led to the growth of a strong domestic market, which would go on to help fuel Japan’s economic growth in the centuries that followed.

Of course, there were also many negative consequences of Japan’s isolation, including the suppression of individual freedoms, the stagnation of scientific and technological progress, and the loss of valuable cultural and economic exchange with the rest of the world. However, it is important to recognize that the Sakoku Edict was not simply a reactionary policy, but rather a deliberate attempt to shape Japan’s future by preserving its past and building a strong, unified, and self-sufficient nation. In this sense, the benefits of Japan’s isolation cannot be fully understood without considering the broader historical and cultural context in which it occurred.

Pictured here is the modern Japanese Flag. A red circle in the middle of an all white background

A Picture of the Modern Japanese Flag

Sources:
“Closing the Country.” In David John Lu. Japan: A Documentary History, 220-228. Armonk, NY: M.E. Sharpe, 1997. 

The Greatest Rivalry in the Sengoku Period

By: AJ Witte

If there is anything that I enjoy more than anything in the world it would be video games. Among the vast genres of video games that have piqued my interest, history based strategy games are definitely among them. Total War: Shogun 2 is a real-time strategy game which focuses on the onin war, or the period of time where Japan was thrown into a time of great strife and war. The goal of the game is to take control of the daimyo of one of these warring clans, and rise to the rank of shogun, gaining military control over all of Japan. One of my personal favorites being Takeda Shingen, the daimyo of the Takeda clan. Takeda Shingen was born in Kai province in December 1, 1521 as the eldest son of Takeda Nobutora, the then head of the Takeda clan under the shugo daimyo (Pletcher). His father was known to be rather cruel and so Shingen lead a very difficult and cold childhood. Shingen would eventually take control of the Takeda clan in 1541 where he forced his father into abdication. After assuming control Shingen would expand his clan northward into what Shinano province and various lands adjacent to his home province of Kai. An interesting note is that Takeda Shingen was not born under the name of Takeda Shingen. His birth name was Takeda Harunobu, until his eventual entry into the buddhist priesthood where he adopted the name of Shingen (Pletcher). Takeda Shingen is most notable for his lengthy history with the Uesugi clan over the Kanto region of Japan. He was even known to rival the great Oda Nobunaga who would eventually work to unify Japan under one banner as well as Nobunaga’s close ally Tokugawa Ieyasu (Wikipedia). However, his rivalry with the Uesugi is where Takeda Shingen would achieve his eventual status as one of the greatest generals Japan has ever known.

Pictured here is an artist's rendition of Takeda Shingen. He is wearing a red kimono with a large white headpiece. Adorned on said headpiece his a bull with the Takeda clan symbol embedded within

Artists rendition of Takeda Shingen

            One of the most famous battles between the two clans was the Battle of Kawanakajima, a series of five battles which were fought over control of the aforementioned Kawanakajima region, which was a key transportation route between the north and south of Japan. These battles were sparked after Takeda Shingen conquered the Shimano province, subsequently expelling Ogasawara Nagatoki and Murakami Yoshikiyo, two daimyos who turned to Uesugi Kenshin for assistance (Wikipedia).

            The first battle, known as the “battle of Fuse” was originally fought in 1553 and was a smaller scale skirmish fought at the shrine of Hachiman. Takeda after capturing Katsura Castle and by extension forcing out Murakami Yoshikiyo would begin his march into Kawanakajima. This push extended along the eastern bank of the Chikumagawa River. Uesugi Kenshin would march the opposite side, the western bank in support of his ally Yoshikiyo, where the two armies would meet each other at the aforementioned Shrine of Hachiman. Takeda Shingen would lose this skirmish and eventually withdraw his forces. After this initial loss Takeda Shingen would return in September to finish off the Murakami Yoshikiyo where he was chased off again by the supporting forces of Uesugi Kenshin. Both forces were forced to disengage due to the eventual coming of the winter (Wikipedia).

            The second battle, known as the battle of Saigawa raged from August to November of 1555. Takeda Shingen would return to Kawanakajima this time advancing up the Sai River. He would eventually set his camp on a hill to the south of the Sai river. Uesugi Kenshin would camp his forces to the east of the Kenko-Ji temple which provided a far superior view of the plain and by extension the Takeda forces. Takeda was not alone in this battle as his close allies, the Kurita clan would rival Uesugi’s right flank as they held Asahiyama fortress, a castle which lay a few kilometers to the west of the Uesugi’s forces. Uesugi would try many times to kick out said Kurita reinforcements but failed to take the castle. This would result in the eventual push by Uesugi to attack the main Takeda force. The attack would fail to come however, as both forces sat idle for months with the battle never coming.  Both Uesugi Kenshin and Takeda Shingen were forced to return to their home province due to domestic matters (Wikipedia). This peace was mediated by one Imagawa Yoshimoto, one of the three daimyos of the Tokaido region (Wikipedia).

            The third, which is formally known as “The Battle of Ueonohara”, took place in 1557. Takeda Shingen would capture the fortress Katsurayama which overlooked the Zenko-ji temple. Takeda Shingen would then push his luck as he attempts to castle Liyama. This attack would prove fruitless as Uesugi Kenshin with his soldiers still stationed in Zenko-ji temple would repel Shingen’s attack (Wikipedia).

            The fourth battle would be known for its great bloodshed, as it was the bloodiest battle by percentage of total forces in the entire Sengoku period. After besieging Hojo Ujiyasu’s Odawara castle, Uesugi Kenshin would leave his Kasugayama castle with 13,000 warriors to finally destroy Takeda Shingen once and for all. Shingen on the other hand would leave Kofu with 16,000 men while acquiring around 4,000 more as he traveled through his Shimano province. The main battle would be pitched at the Chikumagawa River. Both armies wished to maintain the element of surprise and as such, patiently awaited the other’s movement. Eventually, Uesugi Kenshin would correctly guess Shingen’s plan and would march his army down the mountain into the now infamous Kawanakajima plain, catching Shingen’s force off guard. The Uesugi would attack in waves, with the bulk of his army helmed by generals Kakizaki Kageie, and Irobe Katsunaga (Wikipedia). Two prominent generals during the Sengoku period. Shingen’s commanders would eventually fall one by one to the constant onslaught of Kenshin’s army until Uesugi himself would reach Takeda’s command post. This would be the beginning of one of the most famous instances of single combat in Japanese history as Takeda Shingen would fight Uesugi in a duel. Takeda Shingen would famously parry Kenshin’s killing blow with his signaling fan. Shingen would be able to hold off Uesugi long enough so that one of Shingen’s retainers could spear Kenshin’s mount, causing him to retreat (Wikipedia). Shingen’s forces despite being weathered down by Uesugi’s forces would eventually emerge victorious.

            The fifth and final battle would take place in September 1564, where Uesugi Kenshin and Takeda Shingen would clash for the fifth and final time in the bloodsoaked plain of Kawanakajima. Despite being the final battle, this would in no way compare to the fourth battle, as they would skirmish for around 60 days, until they would both withdraw their forces (Wikipedia).

This is a three panneled wooblock painting of the battle of Kawanakajima. It showcases a singular battle where the two clans, the Uesugi and the Takeda fighting for control of the plain of Kawanakajima.

A woodblock painting of the battle of KawanakaJima

            These battles would mark a prime example of what marked the Sengoku period as one of the most bloody as well as fascinating times in Japanese History, clan warfare such as the rivalry between Uesugi Kenshin and Takeda Shingen. Takeda Shingen would eventually die to unknown causes in his camp at Kobama in Shinano on May 13, 1573, where he was succeeded by his fourth son, Takeda Katsuyori (Pletcher). Takeda Shingen through his military prowess would go down in history as one of the greatest generals that Japan has ever seen.

Sources:
https://en.wikipedia.org/wiki/Takeda_Shingen

warfarehistornetwork.com/the-battle-of-kawanakajima/
en.wikipedia.org/wiki/Ogasawara_Nagatoki
en.wikipedia.org/wiki/Imagawa_Yoshimoto
en.wikipedia.org/wiki/Battles_of_Kawanakajima

https://www.britannica.com/biography/Takeda-Shingen

The Importance of the Boring in Zen Buddhism: Week 11

By: AJ Witte

This past week we delved into much of what many would consider to be “Japanese art”. This is to say that we have arrived at what often comes to mind when the words Japanese art is thrown around, images of descending geese, cherry blossoms, very ornate yet simple building and room designs. However, I think the most interesting thing we covered in class was that of Zen Buddhism. Zen Buddhism is a form of Buddhism which arrived to Japan in the Kamakura era but flourished during the time of the Muromachi period. I think a major part of Zen Buddhism that strikes me as the most interesting is the idea of sudden and immediate enlightenment, often during times of boredom or wrote tasks. This is in stark contrast to the gradual and prolonged enlightenment seen in other traditional forms of Buddhism such as pure land and Nichiren Buddhism. Enlightenment which is worked up towards and is the eventual capstone of your life’s journey. I think that if anything, this idea of sudden enlightenment opens the door for such enlightenment to a much broader stock of people, not only those who have completely given themselves to monkhood. I believe that this is through a focus on the present moment and through zazen meditation. We spoke in class of Zen Buddhist monks being very caught up in seemingly menial tasks, such as dishwashing, or clearing leaves. Tasks which take little to no brain power, which in turn allows you the chance and space to dwell within your mind in the form of great introspection until you eventually reach this sudden enlightenment. This abundance of introspection allows you the ability and chance to see the world for how it “truly is”. The concept of shower thoughts comes to mind when I think of such a concept. Everyone always says that their best ideas come when they are in the shower. Your shower is of course, the perfect place to sit with your thoughts and focus solely on such. It feels to me that with a growing warrior class and too many rebellions to count, we see a subtle shift towards equity between classes. Zen Buddhism being another small but meaningful shift. A sort of bonding of the classes which seeks to find a subtle kind of unity between all people. This is all to say that perhaps, if enlightenment can and will happen to anyone during even the most wrote of activities, it may leave a glimpse of hope to those who are forced to live rather strenuous and mundane lives.

This painting features a beautiful scene of geese descending onto a small harbor town. We see great mountains spiral into the sky, a deep mist covers its base. Out on the water of the harbor town we see small boats coming into the harbor. Men with various paddles and equipment man the boats.

Descending Geese at Katada, c. 1834-1835

Sources:
Ellwood, Robert, and Ellwood. “Zen Buddhism.” In Encyclopedia of Global Religions, by Wade Roof, and Mark Juergensmeyer. Sage Publications, 2011

To Flex or Not to Flex in Muromachi Japan: Week 10

By; AJ Witte

This past week we took a look at various writings and artforms which arose during the Muromachi period of Japan. One of the major readings from this week which stood out to me was the Kenmu code, a code which arose from the ever growing warrior population of Kyoto. This arose because of the ever-growing power of the Shogunate, also sharing a roof with the imperial court. The various edicts of the code to me paint a picture of equity between the classes. For example, code #1 states as such, “The need for enforcing frugality. Recently, fashion has been used as an excuse to indulge in extravagance and excess, such as the wearing of twill damask and brocade, ornamental silver swords, and elegant attire to dazzle the eyes. This has become a mania. While the rich swell with pride the poor are ashamed because they cannot match them.” (419 de Bary, Keene, Tanabe, Varley).

This Photo depicts a wealthy Japanese samurai. He is seen standing in a snow covered field outside of what looks to be a town. He is earing a blue checkerboard robe with a brown tie around his chest. A brown and red sash is around his waist. You can see the green hilt of what could be assumed to be his katana. he is also wearing a grey kimono with various shapes dotted within it.

A Painting of a Wealthy Samurai

This particular code strikes me as interesting as we are beginning to really see the beginnings of what I would call performative equity. If there are to be disparages within the classes, it must not be shown for fear of creating divides. The reason this feels so interesting to me is the fact that these divides do very much in fact exist, however, you are not to bring attention to them for fear of causing the classes to become ashamed and may result in a class uprising. It is an interesting way to combat economic inequality. It feels like such a far cry from what we see today in our modern United States, as if anything you are encouraged to do the exact opposite. You are to put on the front that you are wealthy and becoming even if you may not have the necessary wealth to do so. The term flexing comes to mind when I think on this issue. Or the idea of flaunting your wealth over your peers. Performative wealth comes to mind. I think that if anything it shows just how little we value respect of your common person in the United States as compared to Muromachi Japan. Even if the aforementioned performative equity existed, who’s to say that it is better than the alternative performative wealth found within the States today.

Sources:
“The Kenmu Code.” In Sources of Japanese Tradition, Vol. 1: From Earliest Times to 1600, compiled by Wm. Th. de Bary, Donald Keene, George Tanabe, and Paul Varley, 419-420. Second edition. Introduction to Asian Civilizations. New York: Columbia Univ. Press, 2001

The Importance of Spirituality in Warfare: Week 9

By: AJ Witte

This past week our readings and discussions have been dominated by the Mongol empire and their conquest of most of the known world. What really felt like the most interesting topic to me was the importance of religion in ancient warfare and the psychology surrounding it. In one of our readings, we read how there was even a special room where priests and monks would recite prayers, praying for not only their victory but for help from their gods. A divine intervention which would eventually take the form of a kamikaze, a divine wind which would come and according to legend, sweep away the invading Mongolians. I think that there is this idea that praying to the gods for assistance is a futile effort, or that it is a waste of energy, but this is where I believe those people to be misguided. It is not simply people praying in a circle, but a collective psychological effort which fuels the army. If one is to believe god is on their side, how could they lose? It makes no difference whether the downfall of the Mongols in Japan was due to poor sailing weather or by a god protecting their homeland. It all ends the same way, giving the Japanese people a much-deserved moral boost. I would argue in this way, religious fervor is just as important as any sword or any piece of metal armor. As if one’s mental fortitude and spirit is lacking, it matters little how skilled a warrior is.

A painting of the storm god susanoo. He is wearing a ragged white shirt with red paints. His hair and beard are long. He is wielding a sword and fighting a large green serpent in the ocean.
A hand drawn image of the Shinto god Susanoo

Sources:
Conlan, Thomas. In Little Need of Divine Intervention: Takezaki Suenaga’s Scrolls of the Mongol Invasions of Japan. Cornell East Asia Series, 113. Ithaca, N.Y.: East Asia Program, Cornell University, 2001.

A Samurai’s Loadout: Show and Tell #3

By: AJ Witte

The Genpei war was a civil conflict during the late Heian period between the Minamoto and the Taira clans for control over Japan. This war eventually led to the political downfall of the Taira clan and the rise to power and creation of the first shogunate, the Kamakura Shogunate. During this time of strive we also saw the rise of the Japanese military class, the samurai. The samurai were among the most important and powerful warriors on the battlefield. They were equipped with a wide range of weapons and armor, which allowed them to fight effectively in a variety of situations.

The primary weapon of the samurai was the katana, a curved, single-edged sword that was designed to have a masterful cutting edge with the ability to be used as a thrusting if needed. The katana was the symbol of the samurai class and to this day is one of the most well-crafted weapons of all time. The blade was made from high-quality steel, which was folded and tempered multiple times to create a strong, durable, and sharp blade. The katana was worn on the left side of the samurai’s waist in what is known as the saya, or the traditional Japanese sheath. The saya is traditionally made from a lightweight lacquered wood, decorated to match the armor of its wielder. The katana would face upwards in the saya, which allowed the samurai to draw it quickly and efficiently.

This is a black and white ink image which depicts a samurai on the right side of the frame in full armor as he looks to the left side of the frame where a ceremonial katana and wakizashi are depicted.
A drawing of a samurai with a katana and wakizashi beside him

In addition to the katana, samurai often carried a shorter sword known as a wakizashi. The wakizashi was also worn on the left side of the waist within the waist sash, or the Uwa-obi or himo, and was used for close-quarter combat or as a backup weapon. The reason why a samurai’s weapons were held at the left side was to allow for the ability to unsheathe the blade across the users body in a wide sweep, while pushing the saya back out of the way. For this reason, all samurai were right-handed sword wielders. The combination of the katana and wakizashi was known as a daisho, translated to “big-little” which relates to the “big” blade, the katana, and the “little blade”, the wakizashi.

The samurai were also skilled with ranged weapons, such as the yumi, the Japanese longbow and the yari, a spear type weapon. The yumi was an essential weapon for samurai archers and was made from bamboo and hemp. It had a range of up to 300 meters. Samurai were proficient both planted on the ground as well as using their yumi on horseback. The yari was a spear that was used for thrusting and piercing. It was particularly useful for breaking through enemy lines and disrupting formations.

The samurai also used a variety of other weapons, including the naginata a very large war glaive and the tachi, a longer form of the katana. These weapons allowed the samurai to adapt to different situations and engage in a variety of combat styles.

The samurai were also known for their distinctive and effective armor which offered excellent protection from their enemies. The most common type of armor worn by samurai during the Genpei War was the o-yoroi. The o-yoroi was a full suit of armor that consisted of 6 major pieces referred to as, “hei-no-rokugo”, the six articles of arms. It consisted of the dō, the cuirass, the kabuto, the helmet, menpo, mask, kote, the armored sleeves, sune-ate, greaves, and the hai-date, thigh armor. The helmet was often adorned with a crest, which indicated the samurai’s allegiance or rank. The cuirass was made from iron or leather and protected the samurai’s torso, while the greaves protected the legs. The armor was designed to be lightweight and flexible, allowing the samurai to move quickly and easily on the battlefield.

This is a full color photo of a full set of samurai armor which was originally said to have been owned by one Shimazu Nariakira during the edo period. The armor is a cream color with orange tassles. The kabuto or helmet is adorned with large gold horns with a black menbo or mask which has a a willowy white mustache. The boots are black with red rope used to tie the boots together.
Ō-yoroi owned by Shimazu Nariakira. Edo period. Tokyo Fuji Art Museum

Samurai also carried a variety of other essential items, such as a tessen, an unassuming iron fan which would be used for self defense as a last resort. The tessen carries itself into modern times as there is an entire martial art dedicated to its use as a defensive weapon called tessen-jutsu. Beyond the tessen, samurai wore a tanto, a small blade which while may not have been used for combat would have been used for many of the more boring activities a samurai may face, such as clearing small brush or collected wood for camp. Finally, samurai would carry a small box called an inro, which was used to hold personal items such as money, medicine, or small tools.

Another important piece of equipment for the samurai was the horo, which was a banner or cloak worn on the back of the armor. The horo was made from silk or other decorative fabrics and was used to display the samurai’s clan emblem or other symbols. The horo served a dual purpose of providing protection from arrows and also served as a way for the samurai to be identified on the battlefield.

The loadout of samurai during the Genpei War consisted of a variety of weapons, armor, and other equipment that were essential for their success on the battlefield. The samurai were highly skilled warriors who were trained in various martial arts and combat techniques, and their equipment reflected their expertise and experience.

Sources:

https://traditional-dojo.com/blog/115495/Samurai-sword-etiquette-The-things-you-should-know-#:~:text=The%20sword%20is%20always%20worn,and%20out%20of%20the%20way.

https://www.smai.com.au/blogs/news/katanas-explained

https://www.martialartswords.com/blogs/articles/what-is-daisho

https://en.wikipedia.org/wiki/%C5%8C-yoroi

https://www.ancient-origins.net/artifacts-ancient-technology/tessen-0010670

Yumi

A Look Into The Tale of Heike: Week 8

By: John Witte

For this week before our spring break, we were tasked to read various famous passages and scenes from The Tale of Heike. The passages in particular which struck me as important were the opening chapter which told the story of Gio and a very popular dancer Hotoke,  and the death of Kiyomori. The initial chapter of The Tale of Heike strikes me in particular as it really plays up the idea that Kiyomori is one a man of great power, but also a rather rude and mean individual, an idea that most definitely comes up in his eventual death as a sort of comeuppance. Gio, the daughter of Toji and older sister of Ginyo was at one point seen as the greatest dancer and singer in all of Japan. So great in fact that she was personally called to sit at the right hand of Kiyomori a man of great status and power, so of course this was a great honor for Gio. Gio lived happily under the roof of Kiyomori until the eventual arrival of Hotoke, a young dancer who amazed anyone who saw her. Eventually Hotoke was pushed to visit Kiyomori in order to show off her ability, something that she initially did not want to do, and was subsequently cast off by Kiyomori as coming before him without an invitation was something of a great disgrace. Importantly however, Gio pushed for Kiyomori to at least hear her out. Hotoke wowed Kiyomori and subsequently got Gio banished from the castle. This is where we arrive to the purpose of Buddhism throughout this chapter in particular. The idea that good deeds will always come back around to give you support. While the initial fallout of Gio wishing to allow Hotoke to dance was of course detrimental to her life, it led to Gio to live her days out as a Buddhist monk, where she was eventually met by a sorry Hotoke who wishes to follow in her pious footsteps feeling terrible for her newfound position. Because Gio was truly in line with Buddhist teachings, she is now able to truly reach the pure land.

An image which depicts a modern cover of the Tale of the Heike. It has a very vibrant turquoise background with trees which seem to have skulls for leaves in the background. In the foreground we have a samurai who is wearing a very colorful kimono holding a white hilted katana which is placed into a red scabbard.
A Cover of the Tale of Heike

Through this reading we also are able to get a proper glimpse of Kiyomori’s character, a character who is most definitely framed as the bad guy. I believe that this is exemplified best through his death by fever and disease. From what we have learned and what we have read I believe that a “good” death is one that is through either ritualistic suicide known and seppuku or through death while uterring the name of the buddha in order to gain access to the pure land. Most definitely not death by a disease which causes your skin to reach water boiling temperatures on the floor. I think that through this we are able to get the glimpse that he must have not lived a very good and pious life in his previous existence, causing him to have such a miserable death in this life. His death thematically places him at odds with us, specifically because we and I would assume the readers at the time have this background knowledge of Buddhist teachings and the way to achieve access to a greater realm in your afterlife.

Sources:

Genji & Heike: Selections from The Tale of Genji and The Tale of Heike, translated by Helen Craig McCullough. Stanford: Stanford University Press, 1994.