Yamabushi RyuRev. Toby Humphry Renshi will be visiting this area next week from Thursday 8th – Saturday 10th August.
Toby has been a Yamabushi for some time and was one of the first, original instructors in Atherton. Please could instructors tell everyone to support this event and perhaps we could consider arranging some kind of social occasion as well?.
katana making and katana blacksmiths
Introduction
The katana is the Japanese back sword or long sword a katana was typically paired with a wakizashi a shorter blade of the same design it could also be paired with a tanto the two weapons paired are called the daisho which means ‘big-small’. The katana was used for open combat were as the wakizashi was considered a small arm and use for close quarters combat usually indoors, the wakizashi was also used for sepuuku (ritual suicide).
Traditional blacksmithing;
In 900 AD the emperor jimmu conquered most of japan at the same time Japanese blacksmiths learnt the art of sword making from Chinese sword smiths the early swords were in the same style of Chinese swords.
Katanas are traditionally made from specialized Japanese steel called “Tamahagane“, which is produced from iron sand. The smelting process used is different from the modern mass production of steel. A clay vessel is constructed. This is known as a tatara. After the clay tub has set, it is fired until dry. A charcoal fire is started from soft pine charcoal. Then the smelter will wait for the fire to reach the correct temperature. At that point he will direct the addition of iron sand known assatetsu. This will be layered in with more charcoal and more iron sand over the next 72 hours. Four or five people are need to constantly work on this process.
It takes about a week to build the tatara and complete the iron conversion to steel. The steel is not allowed to become fully molten, and this allows both high and low carbon material to be created and separated once cooled. When complete, the Tatara is broken to remove the steel bloom, known as a kera. The forging of a Japanese blade typically took many days or weeks, and was considered a sacred art, traditionally accompanied by a large panoply of Shinto religious rituals. As with many complex endeavours, rather than a single craftsman, several artists were involved.
There was a smith to forge the rough shape, often a second smith (apprentice) to fold the metal, a specialist polisher, and even a specialist for the edge itself. Often, there were sheath, hilt, and tsuba specialists as well. The steel bloom, or kera, that is produced in the tatara contains steel that varies greatly in carbon content, ranging from wrought iron to pig iron. Three types of steel are chosen for the blade; a very low carbon steel called hocho-tetsu is used for the core of the blade, called the shingane. The high carbon steel, called tamahagane, and the remelted pig iron, called nabe-gane, are combined to form the outer skin of the blade, called kawagane. Only about 1/3 of the kera produces steel that is suitable for sword production.
The best-known part of the manufacturing process is the folding of the steel, where the swords are made by repeatedly heating, hammering and folding the metal. Frequently attributed to specific Japanese smiths in legend, the process of folding metal to improve strength and remove impurities, in traditional Japanese sword making, the low carbon hocho-tetsu is folded several times by itself, to purify it. This produces the soft metal, called shingane, to be used for the core of the blade. The high carbon tamahagane and the higher carbon nabe-gane are then forged in alternating layers
Modern blacksmithing;
Traditional swords are still made in Japan and occasionally elsewhere; they are termed “shinsakuto” or “shinken” (true sword), and can be very expensive. These are not considered reproductions as they are made by traditional techniques and from traditional materials. Sword smiths in Japan are licensed; acquiring this license requires a long apprenticeship. Outside of Japan there are a couple of smiths working by traditional or mostly traditional techniques, and occasional short courses taught in Japanese swordsmithing.
A very large number of low-quality reproduction katana and wakizashi are available these cheap blades are Japanese in shape only—they are usually machine made and machine sharpened, and minimally hardened or heat-treated. The hamon pattern on the blade is applied by scuffing, etching or otherwise marking the surface, without any difference in hardness or temper of the edge. The metal used to make low-quality blades is mostly cheap stainless steel, and typically is much harder and more brittle than true katana. Cheap reproduction Japanese swords usually have fancy designs on them since they are just for show.
Some modern sword smiths have made high quality reproduction swords using the traditional method, including one Japanese sword smith who began manufacturing swords in Thailand using traditional methods, and various American and Chinese manufacturers. These however will always be different from Japanese swords made in Japan, as it is illegal to export the tamahagane jewel steel as such without it having been made into value-added products first. Some practicing martial artists prefer modern swords, whether of this type or made in Japan by Japanese craftsmen, because many of them cater to martial arts demonstrations by designing “extra light” swords which can be maneuvered relatively faster for longer periods of time, or swords specifically designed to perform well at cutting practice targets, with thinner blades and either razor-like flat-ground edges or even a hollow ground edges.
Modern katana (gendaito);
During the Meiji period the samurai class was gradually disbanded and the special privileges granted to them were taken away including the right to carry swords in public. The Haitōrei Edict in 1876 forbade the carrying of swords in public except for certain individuals, such as former samurai lords (daimyo), the military, and police. Skilled sword smiths had trouble making a living during this period as Japan modernized its military and many sword smiths started making other items such as farm equipment, tools, and cutlery. Military action by Japan in China and Russia during the meiji period helped revive interest in swords but it was not until the Showa period that swords were produced on a large scale again.
During the pre World War II military build up and throughout the war, all Japanese officers were required to wear a sword. Traditionally made swords were produced during this period, but in order to supply such large amounts of swords blacksmiths with little or no knowledge of traditional Japanese sword manufacture were recruited. In addition, supplies of the Japanese steel (tamahagane) used for sword making were limited; so several other types of steel were used, as well. Short cuts in forging were also taken, such as the use of power-hammers, and tempering the blade in oil, rather than hand forging and water tempering. These techniques generated swords without the various characteristics associated with “true” Japanese swords. The non-traditionally made swords from this period are called “showato” after the regnal name of the Emperor Hirohito, and in 1937, the Japanese government started requiring the use of special stamps on the tang (nakago) to distinguish these swords from traditionally made swords. During this period of war, older antique swords were remounted for use in military mounts. Presently, in Japan, showato are not considered to be “true” Japanese swords and they can be confiscated. Outside of Japan, however, they are collected as historical artefacts.
In Japan from 1945 to 1953 sword manufacture and sword related martial arts were banned. Many swords were confiscated and destroyed, and sword-smiths were not able to make a living. Since 1953 Japanese sword-smiths have been allowed to work, but with severe restrictions: sword smiths must be licensed and serve a five-year apprenticeship and only licensed sword smiths are allowed to produce Japanese swords (nihonto), only two long swords per month are allowed to be produced by each sword smith, and all swords must be registered by the Japanese Government.
Masamune;
Masamune also known as Gorō Nyūdō Masamune is widely recognized as Japan‘s greatest swordsmith. The swords of Masamune have a reputation for superior beauty and quality, remarkable in a period where the steel necessary for swords was often impure. He is considered to have brought to perfection the art of “nie”. Swords created by Masamune often are referred to with the smith’s name (as with other pieces of artwork), often with a name for the individual sword as well. The “Honjo Masamune”, a symbol of the Tokugawa shogunate and passed down from one shogun to another, is perhaps the best-known Masamune sword. A legend tells of a test where Muramasa challenged his master, Masamune, to see who could make a finer sword. They both worked tirelessly and eventually, when both swords were finished, they decided to test the results. The contest was for each to suspend the blades in a small creek with the cutting edge facing the current. Muramasa’s sword, the Juuchi Yosamu cut everything that passed its way; fish, leaves floating down the river, the very air which blew on it. Highly impressed with his pupil’s work, Masamune lowered his sword, the Yawarakai-Te into the current and waited patiently. Not a leaf was cut, the fish swam right up to it, and the air hissed as it gently blew by the blade. After a while, Muramasa began to scoff at his master for his apparent lack of skill in the making of his sword. Smiling to himself, Masamune pulled up his sword, dried it, and sheathed it. All the while, Muramasa was heckling him for his sword’s inability to cut anything. A monk, who had been watching the whole ordeal, walked over and bowed low to the two sword masters. He then began to explain what he had seen.
“The first of the swords was by all accounts a fine sword, however it is a blood thirsty, evil blade, as it does not discriminate as to who or what it will cut. It may just as well be cutting down butterflies as severing heads. The second was by far the finer of the two, as it does not needlessly cut that which is innocent and undeserving.”
Honjo Masamune;
The Honjo Masamune represented the Shogunate during most of the Edo period and had been passed down from one Shogun to another. It is one of the best known of the swords created by Masamune and is believed to be one of the finest Japanese swords ever made. It was made a Japanese National Treasure (Kokuhô) in 1939. The name Honjo possibly came about due to this sword’s connection to the general Honjo “Echizen no kami” Shigenaga who gained the sword in battle. Honjo Shigenaga, a general of Uesugi Kenshin[4] in the 16th century, was attacked by Umanosuke who already possessed a number of trophy heads. Shigenaga was attacked with the Honjo Masamune, which split his helmet, but he survived and took the sword as a prize. The blade had a number of chips from the great battle but was still usable. It was kept by Shigenaga until he was sent to Fushimi Castle, Bunroku around 1592–1595. Shigenaga ran out of funds and was forced to sell the sword to Toyotomi Hidetsugu, Toyotomi Hideyoshi‘s nephew and retainer. It was bought for 13 Mai, 13 ōban, which was 13 large gold coins. The blade was later valued in the Kyoho Meibutsu Cho at 1,000 Mai.
It then went to Toyotomi Hideyoshi, Shimazu Hyogo Yoshihiro , again to Hideyoshi, Tokugawa Ieyasu Tokugawa Yorinobu ,and finally Tokugawa Ietsuna. It remained in the Kii branch of the Tokugawa family, the last known owner being Tokugawa Iemasa at the end of World War II.
Apparently Tokugawa Iemasa gave the Honjo Masamune and 14 other swords to a police station at Mejiro in December 1945 as the americans were confiscating all potential ‘weapons’ but un known to the americans most swords were a part if there familys history and decoration. Shortly thereafter in January 1946, the Mejiro police gave these swords to a man who identified himself as “Sgt. Coldy Bimore” (possibly a garbled phonetic spelling of the man’s name) serving with the U.S. 7th Cavalry. The Honjo Masamune is without a doubt the most important of the missing Nihonto and its current location remains unknown.
Adam Boardman
Bibliography;
https://en.wikipedia.org/wiki/Katana
http://en.wikipedia.org/wiki/Japanese_swordsmithing
http://saw.wikia.com/wiki/Katana
http://en.wikipedia.org/wiki/Masamune
Some of the satisfied (but also tired and hot!) students and their grading examiners.
On a particularly hot day, not only did the following people achieve their grade, but they managed to keep going despite the heat! They looked after one another (as they always do) and at the end of the grading everyone had been fully tested in the various aspects of the syllabus, and demonstrated their knowledge & technical ability. Congratulations to the following people:
Jenna Liley – Yellow + 3 Tabs
Josh Jones – Yellow + 3 Tabs
Isabelle Jones – Yellow + 3 Tabs
Megan Edmunds – Orange + 2 Tabs
Elanta Ashall – Orange + 2 Tabs
Heidi Reece – Orange + 2 Tabs
Zak Naylor – Orange + 3 Tabs
Katy Dann – Blue + 2 Tabs
Eloise Dry – Brown Belt – 2nd Kyu
Lauren Edmunds – Brown Belt – 2nd Kyu
Skye Whitworth – Brown Belt – 1st Kyu
Fleur Whitworth – Brown Belt – 1st Kyu
Mark Jones – Red Belt + 3 Tabs
Shaun Baker – Orange + 3 Tabs
Martin Scally – Blue Belt + 2 Tabs
Sarah Lucas – Blue Belt + 2 Tabs
Ian Doyle – Blue Belt + 2 Tabs
Chris Owen – Brown Belt – 2nd Kyu
Joanne Whitworth – Brown Belt – 2nd Kyu
Somchai Morrissey – Brown Belt – 2nd Kyu
Gareth Edmunds – Shodan-Ho
Adam Boardman – Shodan-Ho
Paul Dry – Shodan-Ho
Grading Examinations Officer – Graham Parrot Sensei
Assisted by the following grading panel
Ian Delaney Sensei
Dave Kinsman Sensei
Pete Houghton Sensei
David Yates Sensei
Our thanks to all of them for taking time out of their busy schedules, and a special mention goes out to Darren Fjodor and Phil Brierley who came down to support their fellow students.
Congratulations & well done to all!
Dan Mackenzie Sensei
As most of you will already know, a very special course took place at the end of June with Otsuka Sensei of the Meifu Shinkage Ryu.
This consisted of instruction in both Shuriken and Kusari. Soke is here as the guest of Andrew Thoburn Sensei, of the Shugenja. Due to prior commitments, only three sensei of the yamabushi ryu (Dan MacKenzie, Tom Wells Matt Yarwood) were able to attend, and the following is a short report from them regarding how it all went:
Meifu Shinkage-ryu Shuriken & Fundo-Kusari Seminar, Seaham, County Durham.
“On the weekend of the 29th & 30th of June 2013, martial arts enthusiast’s from all over the UK took time out of their busy schedules to attend an event which, to my knowledge, is quite rare. As a guest of Andrew Thoburn Sensei of the Yamabush ryu sister organisation, the Shugenja Kokusai Bujutsu Renmei, Otsuka Sensei of Meifu Shinkage-ryu came all the way from Japan to share his knowledge of both Shuriken & Fundo-Kusari.
We were made very welcome upon our arrival, and soon got down to training. Otsuka Sensei explained the fundamental concepts of throwing the shuriken favored by Meifu Shinkage-ryu, and we were then allowed to practice under the watchful eye of sensei. As we became more accustomed to the feel of the weapon, we were instructed on the various methods of throwing dependent upon one’s situation and environment. In-between this we were also instructed in the use of school’s Fundo-Kusari, and we continued to practice the forms & techniques throughout the day.
As the course was drawing to a close, Otsuka Sensei explained the use of shuriken from other schools, many of which are now extinct, and we were given the chance to practice throwing them, which for me was a special opportunity.
Meifu Shinkage Ryu is a modern school of Shurikenjutsu in Tokyo, Japan, founded by Someya Chikatoshi Sensei in the 1970’s. It consists of around thirty students who train under the instruction of the current Soke, Otsuka Yasuyuki. The school is mainly composed of students from other martial arts, and they welcome students from any other art or country.
Our heartfelt thanks go out to Otsuka Sensei for sharing his knowledge of this rare art, Andrew Thoburn Sensei for being such a fantastic host, and all the other attendees for their help, guidance and enthusiasm. We look forward to meeting up with you all again soon.”
Report by Dan MacKenzie Sensei
Photo courtesy of Matthew Yarwood sensei
Comment by Tom Wells sensei
When asked to comment on this course, Tom said:
“It was a very interesting course. It was a reminder that one of the reasons I found myself involved in judo as a child was that I was hopeless at throwing things. I was simply awful at bo shuriken, but I think I learned a lot and if I can figure out a way to practice, I reckon I can get better. Fundo Kusari was much more my thing… I was still very slow on the uptake but really feel I can get somewhere with that… and feel it is somehow a good fit for me”
So, the consensus of opinion is that tis was a well organised and enjoyable course that everyone learned something from, and our gratitude and congratulations must go out to Andrew Thoburn sensei for all of his hard work in making it possible. Planning such an event demands a lot of time and effort, and to do it so well takes a very special kind of person.
Very well done indeed!
A special seminar will be taking place with Otsuka Sensei of the Meifu Shinkage Ryu.
The course will consist of both Shuriken and Kusari, and will be taking place on the 29th and 30th of June. Soke is here as the guest of Andrew Thoburn Sensei, of the Shugenja Kai, and all yamabushi/shugenja are strongly encouraged to support this special event. More details will follow shortly, but please let me know your interest as soon as possible, as places might be limited.
Many thanks
Jaimie
A very happy Easter to all yamabushi, and to everyone everywhere. Enjoy the break, and we will train all the harder for it next time we are on the mat!
Please can all instructors bring the following items with them this coming Monday (18th March):
1 Passport or Birth certificate
2 Proof of address
3 Good photocopies of all the above (I MUST see the originals though)
Many thanks
Jaimie
Please check the new addition to the resources page. This subject matter is linked directly to that being added to the students resources and should be read together with this. You will find this new information if you scroll down past the videos.
Remember to allow yourself to be yourself. Appreciate who you are, rather than worrying about what you are not. After all, that is the person who has been chosen to walk the path of the sacred mountain, and this is enough.