Gō Yoshihiro - The Master Swordsmith who created famous swords in Matsukura-go, Niigawa-gun, Etchū

[MassiveMoonHeh]

Have been digging a little deeper into Gō Yoshihiro blades recently - hoping to share more soon but in the mean time I found a really interesting article written in 2020 by Kurobe City that puts some flesh onto this mysterious, legendary sword smith.

 

In the article they share some pretty incredible stories, myths and legends and even some stories and pictures from his descendants the Gō family. Yes, turns out the origin of the name Gō apparently comes from his surname Gō(郷) and it was not Gō(江) which is now used for his swords and that is only one of the amazing and super interesting tit-bits found in this article.

 

I hope you enjoy reading this as much as I did. After reading it, it kind of reminded me a little of that line from Braveheart, where it is said William Wallace shot lightning bolts from his arse - that is, like all good stories there is a sense of blurring the lines between myth, legend and reality but with so little available on this enigmatic man and because we all love hearing a good story I am so grateful that these oral traditions have been collated and shared. As they say, there is always a little truth in the rumour. Enjoy.

 

Gō Yoshihiro  - The Master Swordsmith who created famous swords in Matsukura-Gō, Niigawa-gun, Etchū 

By Kurobe City
(May 13, 2020)

 

Gō Yoshihiro

The Three Great Works
Many mysteries surround the life of Gō Yoshihiro, one of the "Three Great Swordsmiths of Japan." He was a samurai who lived during the Kamakura period, estimated to have been born in 1298 (Einin 6) and died in 1325 (Shōchū 2). In his short life, he made a name for himself as a sword smith and left behind many excellent works. 

 

Although Yoshihiro's swords do not bear his signature, their high quality makes them unmistakable, and they were favoured by Sengoku warlords, including Toyotomi Hideyoshi. In the Edo period's "Kyoho Meibutsucho" a catalogue of famous swordsmiths), he is counted among the greatest three sword smiths of all time (the "The Nihon San Saku"), and his reputation remains unshaken to this day. 

 

The "Three Great Swordsmiths of Japan" refers to three sword smiths: Awataguchi Yoshimitsu (1229-1291), Gōrō Nyūdō Masamune (1264-1343), and Gō Yoshihiro. While Masamune and Yoshimitsu were professional swordsmiths, Yoshihiro was a samurai. For Yoshihiro, sword smithing was a hobby, and he died at the age of 27 (by traditional Japanese reckoning), so his time as a sword smith was extremely short. However, through his innate talent and extraordinary effort, he produced masterpieces of divine beauty.

The Nihon San Saku Scroll with Gō Yoshihiro (top left),

Masamune (middle right) and Yoshimitsu (bottom right).

 

Loyalist and anti-shogunate patriot
Gō Yoshihiro, was said to be a loyalist and anti-shogunate activist, who lived in Matsukura-go, Niikawa-gun, Etchū Province (present-day Uozu City). Some documents suggest he was the Lord of Matsukura Castle, but the details are unclear. At the end of the Kamakura period, when public order was in disarray and the shogunate was losing its ability to govern, Yoshihiro was a samurai under Inoue Toshikiyo, the deputy Gōvernor of Etchū Province, and there is a theory that he secretly harboured loyalist and anti-shogunate aspirations together with Toshikiyo and was acting in secret. 

 

Gō Yoshihiro, a samurai who became a nationally renowned swordsmith at a young age, went to Kamakura at the age of 21 and became an apprentice to Masamune. There, he honed his sword-making skills while also gathering intelligence on the shogunate's activities. However, the shogunate learned of Emperor Go-Daigo's plot to overthrow the shogunate, and the emperor's close associates were exiled or placed under house arrest (Shōchū Incident, 1324), and pursuers were sent throughout the country. 

 

It remains a mystery whether Gō Yoshihiro, who had returned to Matsukura in Etchū Province, committed suicide to avoid implicating his Lord Toshikiyo and Masamune, or whether he was captured and executed as a samurai close to the imperial court. What we do know is the remaining Gō family fled Matsukura with their family temple and moved to what is now Kurobe City, where they became ordinary blacksmiths.

 

This is a hanging scroll depicting Fudo Myoo (Acala),

has been passed down through the Gō family. 
Family tradition says it once hung in Gō Yoshihiro’s forge.

 

The Legend of Inamuragasaki
After the death of Gō Yoshihiro, Emperor Go-Daigo regained power in various regions, and in 1333 (Genko 3), Nitta Yoshisada finally attacked Kamakura. However, Kamakura was a natural stronghold, surrounded by mountains on three sides and protected by the sea in front. Unable to make progress, Yoshisada advanced to Inamuragasaki to try to attack from the sea, but his path was blocked by sheer cliffs, and furthermore, enemy ships were waiting offshore, firing arrows, so he could not break through. 

 

In the Taiheiki, it is said that at this time Yoshisada prayed to the dragon god and threw his golden-mounted sword into the sea, and the tide went out, moving the ships far away and removing the threat of arrows, so he was able to easily cross the coastline and attack, and brilliantly defeated the shogunate army. It is suggested the sword that was thrown into the sea in this episode of the attack on Kamakura may have been a sword presented by Gō Yoshihiro to Yoshisada. 

 

It is believed that Gō Yoshihiro was well-versed in astronomy and knowledgeable about the ebb and flow of tides. The story is told that he informed Nitta Yoshisada of the timing of low tide when he sent him the sword, and Yoshisada used that information 8 years later to launch his attack... if this is true, then Gō Yoshihiro was indeed a brilliant strategist! 

 

Inamuragasaki cliffs

  

A rare sword
The highly sought-after and nationally treasured sword "Inaba-Gō" is considered the finest masterpiece among Gō Yoshihiro's works. "Tomita-Gō" is considered its equal, and is also designated a national treasure. Gō "江" refers to Gō"郷", and five other swords by him—"Kuwana-Gō," "Matsui-Gō," "Murakumo-Gō," "Buzen-Gō," and "Samidare-Gō"—are designated as important cultural properties. 

 

His early works show influences from older schools such as the Yamato-den (Nara) and Yamashiro-den (Kyoto), but after studying under Masamune, he based his style on the Soshu-den (Kamakura), resulting in a refined, bright, and brilliantly beautiful style. Yoshihiro's aesthetic sense is also reflected in the blade patterns, some of which depict the landscape of the Tateyama mountain range. 

 

Because Yoshihiro's swords were favoured by warlords during the Sengoku period, most of them were treasured possessions and never seen by the public. As they were moved from place to place, many were destroyed by fire or lost. "Kurikara-Gō," said to be the beloved sword of Akechi Mitsuhide, is one of those that went missing during the turbulent times. The more we learn about the many legends surrounding him, the more we regret that Yoshihiro did not live longer. 

 

Gō Yoshihiro's swords bear no inscriptions. There are various theories as to why, including: "He was not a blacksmith who made swords for sale, but a samurai (or nobleman)"; "He often presented the swords he made as gifts, and he hesitated to assert his own identity by inscribing his name to the recipient (a person of high rank)"; and "He had absolute confidence in the swords he made, and believed that anyone who knew would be convinced that they were Gō Yoshihiro's works." We can only imagine Gō Yoshihiro's character from the works he left behind and fragmented anecdotes.

 

Kokuho: Inaba Gō

 

National Treasure author turned into musical
In 2014, a musical featuring this great sword smith as the protagonist was performed in Uozu. Toshiro Kitahara (representative of Hatena no Machi Concert), who was in charge of production, faced a lack of materials and various difficulties, and at one point almost gave up on making the work. However, he persevered with his research, completed everything from the script to the direction from scratch, and successfully staged the performance.

 

Flyer for the Gō Yoshihiro Musical in 2014

 

Memorial monument
The monument to Gō Yoshihiro stands near the main keep of Matsukura Castle. It was erected to honour the 26th generation descendent of Yoshihiro who died in the line of duty in 1985 who wished such a monument erected - a wish that was fulfilled by his mother Gō Toki and the City of Uozu. It is the last known monument to be erected for one of Masamune's Ten Disciples (Masamune Jittetsu). A monument modelled after a Japanese sword anvil was also built next to it. 

 

Not many people know that Etchū Province was once a centre for sword production or that sword smith Gō Yoshihiro existed, but recently, games that personify swords have ignited a Japanese sword boom, and attention to Gō Yoshihiro has been increasing. Gō Yoshihiro only lived in his hometown Matsukura for a few years after returning from Kamakura. Although there is very little evidence of interaction with the local community and no detailed records or historical documents, it is certain that Matsukura-go in Niikawa-gun is the place where many famous swords, including his national treasures, were created.

 

Even after 700 years, his extraordinary talent and story continues to fascinate people.

 

Monument to Gō Yoshihiro erected by his descendants

and Uozo City at Matsukura Castle in Niigawa-gun, Uozu

 

We would like to thank Toshiro Kitahara, who is the concert representative of Hatena Town and produced the Uozu hometown musical "Gō Yoshihiro" for sharing so much information about Gō Yoshihiro.

 

[References] 

Toyama Prefecture Shimoshinkawa District Office, “Shimoshinigawa County History, Vol. 2” (1908) Toyama Prefecture Youth Activities Practical Council, “People Shining in the Local Area, Vol. 1” (1962) 
Uozu City History Compilation Committee, “Uozu City History, Vol. 1” (1962) 
Nobuaki Tamagawa, “Toyama Photography Portraits” (1975) 
Junji Okuda and Hiroshi Yonehara, “Etchū People (Toyama Bunko 11)” (1976) 
Toyama Shimbun, “Etchu Hyakuke, Volume 2” (1981) 
Koji Nojima, “Shinkawa Monogatari” (1987) 
Monthly Uozu Doujinsha “Legend Uozu” (1988) 
Toyama Social Studies Education Research Group, “The People Who Built Toyama Prefecture” (1985) 
Matsukura Promotion Association, “Jusan no Sato (No. 13) 
Special Feature on Yoshihiro Gō” (1993) Junji Okuda, “Illustrated History of Uozu, Kurobe, and Shimoshinkawa” (2000) Hometown Development Research Institute, “Kaleidoscope No. 218 Swordsmith” Yoshihiro Gō” (2010) 
Toyama Prefectural Board of Education “Stories of People from Hometown and Yama” (2011) 
Hatena Town Concert “9th Uozu Hometown Musical Yoshihiro Gō” (2014) 

 

The original Japanese version of this article can be found on the Korobe City website here.

 

 

[Lewis B]

Kunzan believed this to be a signed Go tanto. Although attributed by the NBTHK in mid 70's to Senjuin Yoshihiro, the quality of the jiba exceeds that of the SY blades he had examined. An important reference work. 

 

Edited April 4 by Lewis B

[Lewis B]

I want to add a little more to this deep dive into the life and time of Go Yoshihiro.

 

 

I'm fascinated by the imagery of this depiction of Fudo Myoo, a major protector deity in Japanese Esoteric Buddhism and why Go might have had this displayed in his forge. It surely wasn't just an aesthetic choice but one made with deep spiritual meaning and maybe a nod to his earliest mentor.

 

The deity was first depicted in 839AD in the early Heian period in Kyoto's To-ji temple.

 

Some key features of the image:

Blue/black body colour indicating wrathful manifestation to overcome ignorance and evil.

 

Right hand holds a 3 pointed vajra sword symbolizing the cutting down of delusions, greed and attachments. (now I know how this imagery translates to the common horimono motif)

 

Left hand carries a lasso to bind negative forces and draw lost individuals back toward the path of clarity.

 

Background. Fiery orange flames symbolizing purification and burning away anger, passions and worldly desires.

 

All very appropriate for a swordsmith dedicated to a goal of perfection.

 

While devotion to Fudo Myoo was widely understood throughout Japan its significance for Kamakura and Nanbokucho era smiths was variable. Logically the deity received most attention in the Monastic Center of Nara in Yamato. These smith's weren't just artisans and craftsmen they were monks or temple servants called monzen-kaji. Then there is Yamashiro, the Cultural seat of Japan where some of the most revered Awataguchi and Rai smiths worked. The capital was surrounded by the foundational headquarters of Esoteric Buddhism including the Shingon sect on Mt Koya and Tendai on Mt Hiei. And then there was Soshuden. The smiths in Sagami would have been influenced by the Kamakura samurai who were attracted to Zen Buddhism for discipline but actively relied on Fudo Myoo for battlefield protection and victory. Thus application of religious iconography expanded, be it Fudo Myoo on the Fudo Masamune tanto or countless blades with associated imagery like bonji, the 3 pointed vajra sword or Fudo Myoo's Kurikara dragon.

 

There could be many reasons why this image of Fudo Myoo would have been important to Go. Important enough that it was preserved according to family legend, from the time when he was working in Matsukura Castle. If its true Go was initially trained within the Yamato tradition, then later as a student of Masamune (himself a lay Buddhist priest), one can see why religious iconography would have been an essential element when undertaking the spiritual process of swordmaking and continued after he returned to modern day Toyama province.

 

@MassiveMoonHeh has already mentioned how its conceivable the nearby Tateyama mountain range provided artistic inspiration for the intensity and structure of his hamon, where he collected high grade masa satetsu iron sand and maybe there is even a direct connection to the Fudo Myoo.

 

 

In the 14th century Tateyama was the epicenter for a syncretic religious movement called the Tateyama Shinko. These mountain ascetics practiced Shugendo blending ancient shamanism, Shinto animism, Taoist magic, and esoteric Buddhism. The volcanic craters on Tateyama leaked sulfur and steam and they believed this was the physical manifestation of Buddhist hells. Fudo Myoo was the gatekeeper according to local lore where he would subdue the hellish demons and protect the pilgrims.

 

Thus the iconography of the scroll placed in a prominent part of the forge would have had multiple levels of meaning for this young, master swordsmith working in the Matsukura foothills in sight of the Tateyama mountain range. The perfect manifestation for someone in the pursuit of perfection.

 

 

 

 

 

[MassiveMoonHeh]

16 hours ago, Lewis B said:

Fudo Myoo's Kurikara dragon

Interesting to note that the only acknowledged signed Gō blade was a tanto called the Kurikara Gō. Which was lost down a well.

 

The Kamakura Shogunate actually adopted the new Rinzai (Zen Buddhism) when they first got into power and as such it quickly spread and became the dominant religious institution within Kamakura Japan. This was a shrewed political move by the shogunate to draw power away from the Buddhist Temples in Nara and the Emperor in Kyoto.

 

This is the same reason why the Kamakura Buddha (c. 1252) exists today.

 

As the Shogunate practiced Zen Buddhism so did the Samurai and all associated with the Shogunate. Gō as we know was a Samurai. Lay monks became very popular during this time. We know two that certainly would have influenced Yoshihiro and his thinking in Ko-Nyudo Kunimitsu and Goro Nyudo Masamune.

 

The Zen Buddhist belief of denial or letting go of ego is also considered a major reason for the lack of signatures (Mei) over the Kamakura period.

 

Zen often compares the ego to a clenched fist. Opening the hand does not mean destroying the hand; it means stopping the strain of holding on too tight.

 

Fudo Myoo is a major character in Zen Buddhism as it acts as a fierce guardian and a symbol of unshakable mental stability and decisive wisdom cutting through ego and drawing one closer to Nirvana in your everyday.

 

His swift vengeance is reserved to cut through lies, ego and untruth which is why horimono of him or his sword appear on so many swords of the day.

 

As a Kamakura swordsmith and Samurai the image of Fudo Myoo in Gō's forge is very appropriate to the time. 

 

Note after the fall of the Kamakura Shogunate in 1333 we start seeing this letting go of ego slowly dissapear and we start to see alot more blades with Zamei, especially from the newer smiths who were not influenced by this religious zealotry.

[Lewis B]

In case anyone needs a reminder how close to perfection Go got in his very short life, take a look at this blade. Easy to see why he is referred to as one of the Nihon Sansaku.

 

This is the sort of quality of photography that makes study so rewarding

 

https://www.facebook.com/groups/473437089877345/posts/717706858783699/

[sabiji]

I wouldn’t read too much into the spiritual aspects of various Buddhist traditions and sword smiths.

 

What is unfortunately often overlooked, however, is the remarkable economic prowess of monasteries, particularly those of esoteric traditions such as Shingon and Tendai. 

 

As some of the largest landowners of the time, they were also exempt from taxes. Temples skillfully established all kinds of businesses and craftsmen near their temples in Teramaemachi. Since they, as landowners—or indirectly through their representatives, the Kuge—could also levy customs duties, monopolies often formed around services, products, and goods produced under their protection and on their lands.

Thus, veritable “commercial enterprises” sprang up not only at monasteries but also at shrines, as was the case in Awataguchi. And the famous forges in Awataguchi produced not only fantastic swords but also countless nails for the construction and maintenance of various temples in the immediate and wider vicinity.

 

 

No swordsmith could simply move from A to B just because he liked the area so much. The trades were clearly organized into guilds, which were generally administered by monasteries or shrines. There were a few exceptions, including Seki, which governed itself. This system was only dismantled by Oda Nobunaga, as the Za’s monopolies and countless tariff barriers hindered the country’s economic development.

 

As for religious motifs on blades, people were relatively pragmatic. On the one hand, it depended on what the client wanted—and that was usually something believed to have the greatest impact. On the other hand, they also used symbolism that did not necessarily reflect the specific school of thought to which they themselves belonged.

 

The “Kamakura Buddha” temple originally had an esoteric orientation. And Masamune was not a follower of Zen, but rather a Nichirin priest.

 

 

[Lewis B]

Truth is we don't know how much importance Buddhism played in the personal and in particular, the professional lives of certain smiths at that time. Its fun to speculate though. 

 

Guido made this connection between Nichiren and Masamune, but in reality there is no firm affiliation with the Nichiren Buddhist sect. The moniker 'nyudo' which is the only connection we have between Buddhism and Masamune just means 'entering the way [of Buddhism]', and could well have merely been a title of elevated social and poltical status, which given Sagami was the seat of the ruling bakufu, makes as much sense for the time. 

 

"Ashikaga Mochiuji (足利持氏) built, and then donated, this temple to the priest Nisshutsu (日出) on the site where Nichiren stayed at after returning from his exile to Sado (佐渡島); the temple houses some of the ashes of Nichiren.

 

A stone monument stands near the main temple in honor of Okazaki Gorō Masamune (岡崎五郎正宗). The story goes that when Okazaki Gorō, still a boy, came to Kamakura, Nichiren had already taken up residence in the Ebisudō (夷堂) Hall. Gorō 's father brought him to Nichiren to learn his teachings, and in return Nichiren gave the boy a new name, Masamune - which implies the rightness of the teachings of Nichiren himself."

 

Ko-nyudo Kunimitsu was said to have been a Senjuin smith before he relocated to Etchu and they were affiliated with the Todai-ji temple which belonged to the Kegon sect of Nanto Buddhism. 

 

Maybe Markus' latest publication on titles weighs in on this subject?

[MassiveMoonHeh]

15 hours ago, sabiji said:

And Masamune was not a follower of Zen, but rather a Nichirin priest.

To insist that Masamune was not a follower of Zen or even influenced by Zen in Kamakura the heart of Zen, working on a craft that is influenced by Zen through the Shogunate that gave him a living is probably something that requires more study. Certainly we know of his link to the Nichiren through his story of entry into Buddhism as a boy and because he has a tombstone at Hongaku-ji Temple but is this because Zen had fallen out of favour in Kamakura after the fall of Kamakura or because Sadamune (who's tombstone is next to him) decided it was more politically neutral to be associated with Hongaku-ji if the Soshu-den was trying to sell swords to both sides during the Nanboku-chō period or was it simply because this was the temple where he entered the Buddhist faith? 

 

With regard to Ko-Nyudo Kunimitsu, he came from Uda, Nara, the heart of the oldest and most powerful Shingon Buddhist tradition. As such one can probably argue with some effect that he too was not a Zen Buddhist but then again we also have no idea why he left Uda or why he moved to Etchū. What we do know is that the Momoi were vassals of the Ashikaga clan who were Zen Buddhists. We do know that he settled in Momoi territory and quickly became a preferred smith. We also know that he did sign one blade in 1335 in a place called Yoshioka-sho, Etchū which just happens to be just down the road from Kokutai-ji the first Zen Temple built in Etchū in the 1300 by Zen monk Jiun Myōi and that he had moved there later in life having originally settled in Utsu, Etchū. Why he moved again is unclear, it is certainly odd for a established smith to move across the province to setup a new forge in the same province without valid reason.

 

Again like Masamune further study is required but that both of these smiths were working in the social influence of Samurai who followed Zen Buddhism and ensure their livelihood cannot be dismissed.

 

15 hours ago, sabiji said:

I wouldn’t read too much into the spiritual aspects of various Buddhist traditions and sword smiths.

 

I would not fully discount them either without further study. As it appears to be one of the more credible reasons for a lack of Zamei during this period. Something that is oddly lacking especially in Shogunate strong territories during this period with no other valid or conclusive explanation.

 

A great book on the subject is Zen and Japanese Culture By Daisetz T. Suzuki. Daisetz Teitaro Suzuki (1870–1966) grew up in a formerly samurai family that lost its wealth during the Meiji Restoration. His book talks to the impact Zen Buddhism had on the Japanese Culture specifically providing the mental discipline, fearlessness, and "no-mind" (mushin) or letting go of ego mentality required by samurai. His writings that reach into the fundamental understandings and beliefs within his own Samurai family are also not to be dismissed as they deeply shaped how the spiritual side of swordsmanship and bushido is viewed through to today both within Japan and outside of Japan. Zen had a fundamental impact on every aspect of Japanese life from Japanese arts & crafts, daily life all of which ultimately stemmed from the warrior philosophy. As an aside, Daisetz T. Suzuki studied at Kokutai-ji the same temple that Ko-Nyudo Kunimitsu settled near in his later life.

 

We see the influence of Zen Buddhism in Japanese art even today from the wabi-sabi or the appreciation of imperfection; to Ma, the intentional use of negative space; to Ichigo Ichie, the "one time, one meeting" philosophy behind appreciating the moment.

 

We also saw it blossom in the way swordsmanship and archery focuses on emptying the mind to be in the moment and achieve perfection in the skill.

 

In the Tea Ceremony that was elevated to a spiritual art by the Zen masters like Sen no Rikyu where every moment is executed with mindfulness, humility and absolute focus on the present.

 

We see it in the Zen Gardens that still through to today inspire visitors through their natural rock gardens and raked gravel where the very act of gardening becomes a form of meditation with a focus on the present.

 

The simplicity of Japanese poetry "Haiku" where a profound truth is captured in the simplicity of just 17 syllables.

 

In the ink paintings and calligraphy where perfection of the present and appreciation of the moment is mastered to ensure there is no hesitation or correction due to the nature of the ink absorbing into the paper.

 

We see it in the most Japanese of traits; meiwaku (迷惑), that stems from the Ogasawara School of etiquette established in Kamakura during the Kamakura Shogunate.

 

We see it in the modern day "Salary man" who is not just an employee but remains more of an indentured servant working more hours than he is paid for and giving of himself to a point of negating oneself to show extreme loyalty. This even today is seen as a badge of honour. We see it as the primary reason why so many women from GenX onwards are rejecting this warrior philosophy and looking for more effeminate men in Manga. Ironically, and in a very Japanese contradiction pushing these same women toward the love of swords - thanks to the gorgeous young men in Touken Ranbu.

 

Therefore to say "I wouldn't read to much into the spiritual aspects of various Buddhist traditions" is to negate the very meaning of being Japanese.

 

15 hours ago, sabiji said:

The “Kamakura Buddha” temple originally had an esoteric orientation.

 

We know that from it building in 1252 there was a spike in spiritual zealotry led by Zen Buddhism that lasted through to the end of the Kamakura Shogunate. This is was aided absolutely by the miraculous events of the first and second Mongol Invasion in November, 1274 and August 15–16, 1281 specific to the first storm and the later "Kamikaze" that saved Japan.

 

Hōjō Tokimune (June 5, 1251 – April 20, 1284) the 8th Shikken or Regent for the Shogun more than anyone was instrumental in the spread of Zen Buddhism in Japan. When the Mongols began to invade Japan in 1274 Tokimune sought the council of his Zen master, Mugaku Sogen. He said "This is the biggest event of my life." Mugaku asked, "How will you face it?" Tokimune shouted, "Katsu!" or "Victory!" Showing his strong mental fortitude to win. Mugaku was pleased and said, "It is true that the son of a lion roars as a lion!"

 

Or so the legend goes. I suspect Tokimune was afraid which is why he sought council but this is not how the victors tell stories or spread propaganda.

 

When the storms battered the Mongol Ships on the rocks in the first invasion this was not seen as a mere fluke of nature, but as a profound convergence of cosmic protection, spiritual resolve, and decisive action. Rather than leaning strictly into passive fatalism, Zen masters integrated the miraculous storm with the mental fortitude required of the samurai defenders. That is if the Samurai had not gone with courage and the mental fortitude to face their enemy the storm would not have arrived to aid them. It became very apparent to the Samurai that it was Zen buddhism that had given them the mental fortitude to overcome their paralysing fears of dying to stand on the beaches and face their enemy. That they did so with a just spirit and true heart saw the universe respond in kind for a just cause - saving Japan.  Because of this victory and Tokimune's leadership, Zen Buddhism quickly became popular among the samurai - you always back a winner - especially one with divine power.

 

That this happened twice for the second Mongol Invasion this time through the Typhoon or Kamikaze (Divine Wind) cemented Zen Buddhism as the de facto spirituality of the Samurai and all those associated with them and the shogunate; a decision that would ultimately shape and define Japan.

 

It was easy enough to make medieval Japan believe in things through propaganda especially when such miraculous events happen not once but twice. It should be noted that whilst the Samurai adopted Zen Buddhism other forms of Buddhism such as Jōdo Shinshū remained popular with the peasants and rural communities as they did not have the same need as a Samurai to be brave and they were not as caught up with latest trends of the Shogunate.

 

But like all good things this spiritual zealotry of the Kamakura Shogunate ultimately came to an end when this Shogunate fell in 1333. That the divine powers of the universe did not defend the Shogunate is seen with concern and the non-samurai start to abandon their zealotry. Japan now gets pulled back to the ancient traditions of the Emperor but the Samurai who have embraced this new Zen Buddhism do not wish to go back to the old ways and so shortly after the rise of Emperor Go-Daigo he too falls and the kingdom gets split into the two courts and two seperate focuses on spirituality with the Ashikaga Shogunate continuing to focus on the Samurai favoured Zen Buddhism and the Southern Court focusing on Shugendō and the more ancient localised "monastery controlled" esoteric-shinto beliefs tied to sacred sites. And whilst the Ashikaga Shogunate does unify empire in the Muromachi Period. The temples of the south continued to gain power and control building significant standing armies of warrior monks until their power to was finally broken 235 years later when Nobunaga broke the back of the local Monasteries when he literally burnt them to the ground.

 

It is worth noting that Nobunaga was not spiritual or religious. Toyotomi Hideyoshi (the great unifier) a commoner by birth embraced the "three teachings" of Shinto, Buddhism, and Confucianism for political legitimisation. Tokugawa Ieyasu continued the practice of pragmatic syncretism adopted by Hideyoshi by blending Neo-Confucianism for social order, Zen Buddhism for personal discipline, and Shinto elements for ancestral legitimacy. In the interest of unification he even tolerated Catholicism in the country until he felt it became a political threat banning it in 1614. Fundamentally however it was Ieyasu who continued the now 400 year tradition for Zen Buddhism to remain the dominant form of thinking amongst the Samurai elite when it came to how they should conduct themselves and this thinking in turn filtered through the whole of Japanese Society.

 

That there is a tradition that exists to this day to not sign swords gifted to Temples (even Shinto Shrines) as it is considered rude, arrogant and presumptuous to show one's ego when presenting a holy offering talks to the past and this original Buddhist belief. 

 

That Buddhism and the it's more fundamental Zen buddhism played an important role in the mind shift of the samurai and those associated and as a result the entire Japanese culture cannot be dismissed out of hand. It is instead is one of the fundamental reasons why the Japanese are who they are, even today.

[MassiveMoonHeh]

I have found a free copy of the book Zen and Japanese Culture by Daisetz T. Suzuki, at the Internet Archive for those who would like to read the book but do not want to spend the money on buying it. 

 

http://archive.org/details/in.gov.ignca.16794/mode/2up

[sabiji]

On 8/6/2026 at 4:43 PM, Lewis B said:

Tatsächlich wissen wir nicht, welche Bedeutung der Buddhismus im persönlichen und insbesondere im beruflichen Leben einer bestimmten Schmiede jener Zeit hatte. Es macht aber Spaß, darüber zu spekulieren. 

 

Ko-nyudo Kunimitsu soll vor seinem Umzug nach Etchu ein Schmied aus Senjuin gewesen sein und war mit dem Todai-ji-Tempel verbunden, der zur Kegon-Sekte des Nanto-Buddhismus gehörte. 

 

Naturally, many blacksmiths were associated with Todaiji.

Todaiji is the main temple of the Kokubunji system, a network of state-sponsored temples in the Japanese provinces that dates back to the Nara period.

 

And this is not limited to a single provincial Kokubunji. Each provincial Kokubunji, in turn, had subsidiary temples in the administrative districts.

 

As a result, there were countless temples that served as “branch temples” of Todaiji through the Kokubunji system.

This system functioned like Japan’s lymphatic system at that time, through which artisans—particularly swordsmiths (especially those of the Yamato tradition)—spread throughout Japan.

 

Kaneuji’s first posting in Mino as a representative of the Tegai was, of course, a branch temple of Todaiji: the Mino Kokubunji in Fuwa.

The Akasaka-Senjuin near Fuwa may have been the longest-established swordsmiths in Mino—although this cannot currently be proven with certainty.

 

The construction of temples in Japan required tools, nails, blacksmiths, farmers, and potters. Archaeological finds of kilns used to fire bricks for temple construction are frequently discovered near such monasteries.

As a result, temples were economically far more powerful than regional warrior clans could ever be until the early Nanbokucho period.

 

When examining the movements and distribution of swordsmiths during the Kamakura and Nanbokucho periods, it is essential to keep a close eye on the temples!

 

The most significant role that Buddhism played in the lives of many swordsmiths up until the Nanbokucho period was that of employer.

 

However, I do not mean to imply that the swordsmiths worked exclusively FOR the temples. A certain degree of dependence was, however, necessary for the survival of various schools across generations.

 

 

 

 

 

 

Edited Monday at 09:02 AM by sabiji

[sabiji]

On 7.8.2026 at 07:40, MassiveMoonHeh said:

 

 

Zu sagen „Ich würde den spirituellen Aspekten verschiedener buddhistischer Traditionen nicht zu viel Bedeutung beimessen“, bedeutet daher, die eigentliche Bedeutung des Japanerseins zu negieren.

 

By saying, “I wouldn’t attach so much importance to the spiritual aspects of various Buddhist traditions,” I meant that we shouldn’t read too much into them given our limited knowledge of the subject.

 

I, too, am only scratching the surface, but I think Zen is significantly more popular in the West than in Japan itself, and that Zen, as it’s understood here, is one of the most misunderstood “religions” of all.

Please don’t take this as a personal criticism, but I believe that D.T. Suzuki contributed greatly to this misunderstanding. You have to look at the historical context. Starting with the Meiji era, Japan copied the West in many ways in order to catch up with the West as quickly as possible. Having to copy something means that the original is desirable because it is superior.

However, this technical inferiority can be offset by metaphysical superiority. Zen was ideally suited to explaining the Japanese spirit in this way. The hierarchical system—which, in Zen as well, emphasizes obedience and discipline—closely resembles samurai ideology. How can you top a moral and ethical mindset? By portraying your own—for whatever reason—as superior.

BUT: If D.T. Suzuki had studied Shingon or Jodo-Shinshu, one could have used those traditions to explain this particular Japanese mindset as well.

At least, that is my opinion, which I have formed through research. I could also be completely wrong.

If you ask just about anyone today about Japanese Buddhism, as long as they know anything about it at all, you’ll hear the term “Zen.” That’s about all people in the West know, and Zen is virtually equated with Japanese Buddhism.

 

And even in Japan, numerically speaking, Zen represents a minority. Even my daughter’s host parents couldn’t tell me off the top of their heads which school their family temple belonged to (it was part of Jodo Buddhism).

The problem of Buddhism being reduced to a funeral religion is as old as Buddhism itself in Japan. It was only Tendai and Shingon that began to draw on the resources of Shinto and offer solutions for all situations in life. The only problem was that hardly any believers understood these secret and mystical rituals of esoteric Buddhism. True to the motto: “The priests will know what they’re doing.”

 

It wasn’t until the “apocalyptic mood” at the end of the Heian period that believers needed a path they could practice themselves for their salvation. That marked the birth of Jodo, Zen, and Nichiren.

 

For many people, Zen consists of various goals that must be achieved in order to become enlightened or to find success in one’s career and life. But it is precisely these goals—which we hold out before us like a promise (like the famous carrot dangling from a fishing line in front of a foolish donkey)—that have absolutely nothing to do with Zen. Nothing at all—in fact, quite the opposite.

 

To finally bring the discussion back to the topic of swordsmiths and Buddhism somehow:

Actually, I just wanted to suggest that we shouldn’t look for the importance of Buddhism to swordsmiths solely in its spiritual context, but rather study the economic significance of (certain) monasteries within the historical and social context.

That was really all. 

[CSM101]

I hope, this is the right link. An article by Randolph B. Caldwell. You can find something about the temples in the chapter "Kango trade with China" 

 

https://www.transfernow.net/dl/20260810yCWY4JxC

[MassiveMoonHeh]

 

18 hours ago, sabiji said:

Naturally, many blacksmiths were associated with Todaiji.

Todaiji is the main temple of the Kokubunji system, a network of state-sponsored temples in the Japanese provinces that dates back to the Nara period.

Your argument only holds water if you are talking to anything before 10th Century but as the discussion was specific to the Kamakura Period I fear you may be some 400 years out of date.

 

The Kokubunji system - the nationwide network of provincial state-sponsored temples and nunneries - was founded by Emperor Shōmu in the Tempyō era (741-780) to promote the Six Nara Sects. After his death the system experienced a sharp decline specifically because the imperial court moved from Nara and settled in Heian-kyō (Kyoto) in 794. From the 9th century funding dried up and by the 10th century the funding ended completely leading to the decay and abandonment of most provincial sites and the end of the Kokubunji system.

 

During the Heian Period, Japan saw the rise of the two "new" buddhist sects that had influence over the Imperial Court:

 

Tendai: Founded by Saichō in 806 with Enryaku-ji temple on Mount Hiei near Kyoto.

Shingon: Founded by Kūkai in 806 with the settlement at Mount Koya (Koyasan).

 

Neither of these two sects created a Kokubunji (provincial temple) system - therefore neither were the major employers of swordsmiths during the Heian Period. 

 

By the time we get to the Kamakura Period (1185-1333) which is when we are basing our discussion things change again.

 

When the Kamakura Shogunate came into power Japan experienced a Buddhism revival as the new ruling elite Samurai Class sought to remove the influence of the Imperial Court's Tendai and Shingon Sects and instead looked to consolidate power in Kamakura away from Heian-kyō.

 

This saw the rise of:

 

Pure Land (Jodo Shu): Founded by Honen in 1175.

True Pure Land (Jodo Shinshu): Founded by Shinran in 1224.

Zen Buddhism (Rinzai): Brought from China by Eisai in 1191.

Zen Buddhism (Soto): Brought from China by Dogen in 1227.

Nichiren Buddhism: Founded by Nichiren in 1253.

 

The creation of the Kamakura Shogunage became the catalyst for the greatest explosion of Buddhist thinking ever in Japan as the Pure Land, Zen and Nichiren sects transformed Japanese Spirituality and thinking by offering simpler paths to salvation for ordinary people and the new ruling elite Samurai Class.

 

In terms of context as the discussion was originally specific to Gō Yoshihiro of Etchū, the Jōdo Shinshū (True Pure Land) sect was the dominant Buddhist sect in Etchū in the late 1200s to 1300s. Jōdo Shinshū, openly rejected the institutional authority, rituals, and complex scholasticism of the older Nara and Kyoto Buddhist establishments as it sought a simpler path to enlightenment.

 

18 hours ago, sabiji said:

The most significant role that Buddhism played in the lives of many swordsmiths up until the Nanbokucho period was that of employer.

 

This is not correct as previously advised above. This is very much an argument that is specific to Yamato-den and perhaps Todai-ji temple but definitely not elsewhere.

 

Again with context to the original discussion that was specific to Gō Yoshihiro, he was also not a swordsmith by trade but a Samurai and sword smithing was secondary to this therefore his employment was tied to the Momoi Clan as vassals of the Ashikaga Clan not Buddhist Temples. He also worked in Kamakura during the Kamakura Period and again being the seat of the Shogunate and the major employer was the Shogunate and the samurai elites not the Temples.

 

13 hours ago, sabiji said:

And even in Japan, numerically speaking, Zen represents a minority.

I do not argue otherwise, it has always been the minority from the beginning except that the minority were the ruling elite and they controlled Japan - hence it's overall impact on society and it's thinking compared to other religions and larger Buddhist sects was disproportionately large.

 

13 hours ago, sabiji said:

Even my daughter’s host parents couldn’t tell me off the top of their heads which school their family temple belonged to (it was part of Jodo Buddhism).

Context is everything. Today religion is not that important for a vast majority of people. It is something you do, if you do, by tradition not necessarily by faith any more. But to negate the idea that religions have not played a major part in society's thinking just because we cannot say what sect we belong to is not a sound argument.

 

How has Christianity influenced the thinking of Europe? How about thinking specifically formed by Catholicism and the Reformation? Have these events not shaped the people, countries and their thinking even today when most people in Europe do not even practice any formal religion?

 

Such is the argument for Buddhism in shaping the thoughts of the people in Japan. Zen played a large role in society not because everyone practiced it but because the ruling elite did. The Kamakura Shogunate played a large role in making this so and the Tokugawa made it central to Japanese thinking when it made the elite practice it for their own thinking.

 

Whilst your argument is that we should only look at Buddhism purely as some sort of economic engine similar to the Benedictine Monasteries in Europe is to miss the discussion on how Buddhism and Zen influenced thinking completely. You need not be a devout Zen Buddhist in Japan to be influenced by it. In the same way you need not be a devout Catholic to be influenced by the thinking of the Church in Europe, even today.

[sabiji]

Vor 21 Stunden sagte Sabiji :  

Die bedeutendste Rolle, die der Buddhismus im Leben vieler Schwertschmiede bis zur Nanbokucho-Zeit spielte, war die des Arbeitgebers.

 

Vor 4 Stunden schrieb MassiveMoonHeh:

Das ist, wie bereits erwähnt, nicht korrekt. Dieses Argument bezieht sich ausschließlich auf den Yamato-den und vielleicht den Todai-ji-Tempel, aber definitiv nicht auf andere Orte.

 

Das ist eine interessante Theorie.

 

Nun, wenn das der Fall ist...

 

...dann bin ich raus.