Analyses of the Samurai Culture of Japan : Historical Based Discourse

[Audio]

No mention of Miyamoto Musashi and his "mind must be like water" teachings? non legit thread!

 

[Georgeclark]

Here are Some pictures of Samurai relics from 19th and 18th century from Japan, here in Indian Museum at Salar Jung Museum Hyderabad (India) (Taken by me)

Bushi

 

[Aepsilons]

The Learning of the Mind-and-Heart and the Five Human Relationships
[Shingaku Gorinsho]​

The Way of heaven is the lord between heaven and earth. Because it has no form, it is invisible to the eye. It is, however, the work of Heaven's Way that the four seasons follow one another without fail in the order of spring, summer, fall and winter, that people are born, that flowers blossom and fruits ripen and that the five grains grow.

The Human heart, too, has no form and yet it is the lord of the lord of the whole body and reaches everywhere , up tot he end of the nails and the very tip of the hairs. This human heart has come down from Heaven and become our heart. Originally, it was one with [The Way of Heaven].

All Things that exist between this heaven and this earth exist in the belly of Heaven's Way. It is the same as , for instance, the fishes living in the huge sea. The water is everywhere, even inside their fins. Yet the fishes have no idea of getting out of the water and living on the other side of the water. Heaven completely fills the whole of the human heart and for that reason, if you have one compassionate thought, this single thought will communicate itself to Heaven. And if you think ill, this evil will communicate itself to Heaven, for that reason, "The superior man is watchful over himself when alone."

Luminous Virtue is what has separated itself from Heaven , dwells in our hearts ever so bright, does not contain even the slightest trace of wicked feelings, and is in accordance with the Way of Heaven. Sages are those in whom this luminous virtue is manifested spontaneously as if they had been born with it from Heaven. Furthermore, after we ahve been born as humans, we have what is called human desires. Human desires are what we call those deep feelings of greed that are swayed by what we see and hear. If the human desires grow strong, luminous virtue will diminish. Although our appearance will still be human, our hearts will be the same as that of a bird or an animal. Luminous virtue may be compared with the bright body of a mirror, and the human desire are what clouds it. If we do not polish this mirror every day and every night, the dirty of human desires will accumulate, and we will lose our original mind-and-heart. Luminous virtue and human desires are our ally and foe, respectively. If human desires are victorious, our ally luminous virtue will not have an easy time of it.




Reference:

Deguchi, Onisaburo. Omoto no michi. In Omoto shiryo shusei, vol 1. Edited by Ikeda Akira. Tokyo: San'ichi shobo, 1982

Fujiwara, Akira. Nankin jiken o do miru ka. Tokyo: Aoki shoten, 1998

 

[Spectre]

The Deadly & Dying Art of Crafting Samurai Swords - Tofugu

Notable Samurai

Minamoto Tametomo

Today, the samurai are legendary for their exquisite sword that is synonymous with the iconic katana, and while they were actually competent in the art of combat with swords, samurai we have today are the descendants of the warriors who were proficient in their practice of mounted archery bow. This tradition has never lasted, the samurai grew, and for all the great swordsmen who garner about throughout the history of the samurai, there are as many archers whose skills are noteworthy. One of these men was Minamoto Tametomo whose legend may well precede the skills that have shaped it.

Tametomo is said to have a left arm that was up to six inches longer than his right, which could generate much stronger blows because of the increase in the distance he could pull the rope. These powerful shots were essential to Tametomo during a conflict between the Minamoto and Taira clan where Tametomo would cast a full size Taira ship simply by pulling a single arrow below the craft's waterline.

Tametomo seppuku in 1170 that Taira captured him and cut the tendons of the left arm, leaving it useless for battle. Ultimately, he decided to take his own life by means of seppuku, one of the first samurai file to do this.

Kusunoki Masashige

Masashige started as a small-time land owner who responded to the Emperor Go-Daigo's request for military assistance during Nanbokucho wars. Starting as a leader in small-time with only five hundred men to his credit, Masashige rose through the ranks serving trusted general of Emperor Go-Daigo during Nanbokucho wars. Masashige is most famous for his unwavering dedication to his emperor that persisted even through the exile of the emperor until his death at the hands of fellow samurai and traitor, Ashikaga Takauji. Leading to the battle with Takauji, Kusunoki pleaded with his emperor to refrain from direct battle with him, opting instead to guerrilla tactics were based served them at this time. Go-Daigo rejected the concerns of his Kusunoku, and despite his knowledge that the orders of the Emperor were essentially a death sentence, Kusunoki walked forward to meet Takauji when he suffered a massive defeat and was forced to commit seppuku.

After his death, Masashige was considered the forerunner of the undying loyalty of a samurai. When removing the Tokugawa shogunate in the Meiji Restoration in the mid 19th century Kusunoki Masashige become a national symbol of loyalty, and his image was again used in the Second World War propaganda posters to keep soldiers loyal to the emperor.

Miyamoto Musashi

Some of the most interesting stories of the decorated history of the samurai ronin imply 'which roughly means "men of the waves" in English. The ronin samurai who were paid no allegiance to a master for one reason or another, and as such they have found their work as mercenaries. Some worked in the interest of the people, they were hired to protect small villages or for the rich men who could do little to defend themselves. Others traveled to other countries or have worked as pirates.

Incessant conflicts between rival clans samurai masters brought to a premature death, so the reproduction of thousands of ronin who wandered the countryside as independent warriors who were often considered inferior by their fellow samurai. Among the many wandering swordsmen, none was more popular than Miyamoto Musashi.

Some samurai were celebrated in modern culture throughout most of the history of Musashi, which has seen countless works of cinema and literature on his CV as a blind swordsman and duellist that has often been embellished to the point absurdity, sometimes Musashi himself. Yet for all the uncertainties that remain about his legend, that Musashi was a magnificent fighter remains indisputable.

Born in 1584 his father Munisai, as a martial artist and accomplished swordsman, Musashi was raised under the tutelage of his father until the age of seven when his uncle took him. At thirteen, Musashi had his first duel against which he won with little difficulty. At sixteen, Musashi participated in the war on the side of the Toyotomi clan against the Tokugawa clan, and after the defeat of the Toyotomi clan in the Battle of Sekigahara, where Musashi was rumored to have fought, he fell from public view until 'that the age of twenty-one years old when he resurfaced in Kyoto to challenge the Yoshioka school reputation of the sword, and following several successful battles against the leaders of the Yoshioka school where he innovated style niten'ichi sword fight that involved Musashi struggling with his katana held in one hand and short wakizashi held in the other, Musashi began to travel throughout Japan as part of a development of pilgrimage where he further improved his skills as a warrior.

In 1612, Musashi fought in his most famous duel against his most formidable opponent, a master swordsman Sasaki Kojiro. Kojiro was exceptional in its precision and speed with the nodachi a curved sword much like the katana but several more feet. In an effort to destabilize his opponent, Musashi arrived more than three hours late for the duel, and after the ruckus Kojiro and cuddly the first attack on him, Musashi killed almost effortlessly with a single shot wooden sword, he apparently designed from one of his oars.

In the last years of Musashi, his fighting life and greatly slowed duel that is expected of an aging man. Just before his death in 1630, Musashi wrote the Go Rin No Sho, or The Book of Five Rings, a book describing various techniques of the sword which is still widely studied by both artists and men of martial affairs.

 

[Aepsilons]

My friend, the current Ambassador of Japan to India, HE Yagi Takeshi, is actually of Samurai Class. He is of the Yagi Imperial Family, in fact, the Yagi Family (or clan) were lords of what is now present day Hyogo prefecture of Japan. The Yagi family are related to the Imperial Family , the Ambassador of Japan to India, for example, is actual a distant relative of the Emperor of Japan.

His Imperial title , technically, would be Baron of Yagi. There is a reason why he was selected to represent the Emperor's Government to India.



I assume he did not mention this fact to you when he invited you to dinner, yes? Probably not because H.E Yagi Takeshi is rather quite humble and down to earth, despite him being of Imperial lineage.

The Deadly & Dying Art of Crafting Samurai Swords - Tofugu



Notable Samurai

Tomoe Gozen

Tomoe is one of the very few women who took the battlefield alongside her male counterparts but his exploits and history are still uncertain.

In the tale of Heike, Tomoe is described as a woman of exquisite beauty with pale skin and long black hair and a great archer and swords woman who was "ready to confront a demon or a god."

Serving under Minamoto Yoshinaka, Tomoe was one of his best soldiers and skill in battle overshadowed many detainees, even by the strongest men in his unit. It is believed to have fought and survived during the Genpei War, the first great war between the samurai clans and a place of origin of many popular attributes that would become associated with the samurai warrior over the years. He was here in the Battle of Awazu where Tomoe even took the head of a rival samurai, an incredible honor for any samurai who defeated an opposing warrior in battle.

After the battle, Tomoe said to have retired to be a warrior, instead of engaging in an activity as a nun, but it is also said that she became the wife of a samurai who she named Wada Yoshimori supposedly promised her dedication after being defeated by him in battle.

Minamoto Tametomo

Today, the samurai are legendary for their exquisite sword that is synonymous with the iconic katana, and while they were actually competent in the art of combat with swords, samurai we have today are the descendants of the warriors who were proficient in their practice of mounted archery bow. This tradition has never lasted, the samurai grew, and for all the great swordsmen who garner about throughout the history of the samurai, there are as many archers whose skills are noteworthy. One of these men was Minamoto Tametomo whose legend may well precede the skills that have shaped it.

Tametomo is said to have a left arm that was up to six inches longer than his right, which could generate much stronger blows because of the increase in the distance he could pull the rope. These powerful shots were essential to Tametomo during a conflict between the Minamoto and Taira clan where Tametomo would cast a full size Taira ship simply by pulling a single arrow below the craft's waterline.

Tametomo seppuku in 1170 that Taira captured him and cut the tendons of the left arm, leaving it useless for battle. Ultimately, he decided to take his own life by means of seppuku, one of the first samurai file to do this.

 

[Spectre]

Oda Nobunaga

At the height of the presence of the samurai in Japan, samurai was stronger or more cunning than Oda Nobunaga. His name is one of the most recognizable in Japanese history, and not without reason.

Following a long and costly war that saw the preeminent daimyo in Japan - Takeda Shingen and Uesugi Kenshin - very weak, many clans erupted into war with the hope to fill the power vacuum left by them, but none of them had the sufficient power to risk march on the capital to take the throne.

In 1560, Yoshimoto Imagawa when the Suruga Province finally attempted to take the capital of Kyoto, which was on its way was simple conquest of the province of Owari and small time daimyo who ruled it, Oda Nobunaga .

Imagawa marched with an army of one thousand twenty-five men outnumbered the small forces of Nobunaga eight to one. During a thunderstorm that forced the troops of Imagawa shelter, Nobunaga put his troops in motion, waiting just after the rains stopped to launch a quick attack that left Imagawa and his stunned army. Before he could even realize what was happening, Imagawa was killed and Nobunaga had completed the improbable victory in the history of Japan.

Its success in its battle with Imagawa, the stock of Nobunaga only increased as he struck an alliance with Toyotomi Hideyoshi and Tokugawa Ieyasu to begin construction of a foundation that would lead to the Japanese unit to centuries of peace under the Tokugawa shogunate.

The rise of a humble Nobunaga to a daimyo unstoppable General is due to the revolution, he battle that saw him back to life a class system based on merit which saw warriors designated roles depending on the specific skills and competencies rather than heritage. More important, however, was the adoption of Nobunaga guns and his ingenious creation of the tactical turn-fly which ensured his troops would trigger an endless barrage of gunfire as a troop of armed men stood still loan subject to attack and release hell when the first company was forced to reload.

In addition to being a great general, Nobunaga was a gracious leader who wore his intelligence on the field of business and politics. He rebuilt exclusively based economy on agriculture to one that operates as a free market and more focused on the production of goods and services, and expanded international trade during his reign to other countries in Asia South-East and Europe. To streamline its growing economy, Nobunaga ordered the construction of roads between cities under its control which, incidentally, has contributed not only to the negotiation but also in the transportation of its massive armies on his land.

Despite all the achievements of Nobunaga and its dominant presence on the battlefield, it was never able to reach the shogun position that many believed it was destined to be. In 1582, while lounging in a temple with only a small entourage acting as his guards, one of Nobunaga's own generals, Akechi Mitsuhide, ordered his army to attack the fortress of Nobunaga in an act of treason. With Nobunaga surrounded and trapped in his temple that had been set on fire, he retreated away from the fighting when his few soldiers were slaughtered and committed seppuku.

The death of Nobunaga would not go without justice for long, however, not more than two weeks after his death, Toyotomi Hideyashi intercepted Akechi Mitsuhide and promulgated avenge his master at the Battle of Yamazaki, and Tokugawa Ieyasu, two of them ensured progress Nobunaga would not die, as they would both use the framework of the contribution of Nobunaga in the country to lay the foundations for what would be the final shogunate rule over Japan.

 

[IrbiS]

Next page is faulty so posting text continued from above :

steadily decline, for many samurai this was the final insult. The Japanese leaders
felt they needed to modernise to avoid being left behind and the samurai
were simply one of the casualties of war; the government believed that in their
current form they belonged to a different era and had no relevance in this new
Japan they were forging.

There were some samurai that adapted to this modernisation process and, for
the good of the country, abandoned their old beliefs and tried to put themselves
at the forefront of this new Japan. The government instigated a programme
to rehabilitate samurai, help them find employment and try to place them at
the head of enterprises, as they were more educated than the majority of the
population. However, a group of samurai decided that the country was changing
too fast and losing its culture and traditions. They were led by Saigo Takamori
and decided to take a stand.

Saigo Takamori was a great bear of a man who stood nearly six-feet tall with a
stout and sturdy frame. Born the son of a low-ranking samurai he had previously
fallen into disgrace following the death of his lord and had been banned to a
remote island, but was later readmitted to a daimyo’s
army and regained his honour. He had played a
prominent role in the setting up of the new Meiji
government and in 1871CE was even left in charge
of the caretaker government during the absence of
many senior statesmen. Even though he opposed
the Westernisation of the country it was actually
when his proposal to invade Korea was rejected that
he resigned from the government and returned to
Kagoshima where he set up a local military school.
He soon gathered supporters among disenchanted
samurai and those harbouring ill intentions against
the central government.

Takamori’s footnote in history looked destined to
be a minor one, as he lived out his days honouring
the old samurai tradition and teaching. However,
in 1877CE a group of samurai rebels raided and
occupied government ammunition and weapon
depots and proclaimed him as their leader.
Reluctantly, he would lead the last samurai charge.
As word spread of the rebellion, samurai and
peasants from across Japan flocked to join the cause
and soon Takamori was in charge of 40,000 men.
A good figure, but no match for the government’s
force of 300,000 trained in more-modern warfare
and with appropriate weaponry.

The rebel forces marched on the well-fortified Kumamoto Castle and, with their samurai and
peasant army armed with guns, surrounded the castle. For two bloody nights
the army threw itself at the walls in a ferocious attempt to scale them, but the
attacks were repelled time and again by gunfire and had no co-ordinated plan
for how to breach the fortifications.

When a government relief force arrived and engaged with the rebels, several
sharp clashes ensued before both sides retreated. The rebellion went on to
last for six months and, while both sides gained victories, the government
army could replenish any lost forces much easier than the rebels, who were
gradually ground down by superior technological firepower, such as warships.
It is estimated that the Imperial forces lost more than 6,000 troops and had
10,000 wounded, while the much smaller samurai army had 7,000 casualties
and 11,000 wounded. Following a series of engagements, the depleted rebel force
sneaked into Kagoshima and took possession of a castle mountain in Shiroyma.
It took the government troops several days to locate them but when they did,
there was no doubt what the eventual outcome would be. Takamori organised a
sake party for his closest friends, an impressive display of bloody-mindedness, as
he must have known what was coming.

It was to be his last night alive, as at 3.00am Imperial forces stormed the
mountain castle. By the time they were repelled, only 40 of the rebels were still
alive and Takamori was badly injured. Being rendered unable to fight, Takamori
did what honour dictated, as did the remaining samurai who charged into the
bullets of the waiting Imperial army. The age of the samurai may have been
extinguished that day, but it was done in such a way as to display perfectly all
of the central ideals that had made this warrior class so legendary – honour,
courage and loyalty

-----------------------------------------------------------------------------------------

Two ex-samurai in their old armor. 1870

@Nihonjin1051 @Gufi

 

[Spectre]

My friend, the current Ambassador of Japan to India, HE Yagi Takeshi, is actually of Samurai Class. He is of the Yagi Imperial Family, in fact, the Yagi Family (or clan) were lords of what is now present day Hyogo prefecture of Japan. The Yagi family are related to the Imperial Family , the Ambassador of Japan to India, for example, is actual a distant relative of the Emperor of Japan.

His Imperial title , technically, would be Baron of Yagi. There is a reason why he was selected to represent the Emperor's Government to India.



I assume he did not mention this fact to you when he invited you to dinner, yes? Probably not because H.E Yagi Takeshi is rather quite humble and down to earth, despite him being of Imperial lineage.

He didn't personally but everyone knows about this at Embassy.

Ambassador's are anyway addressed as Excellencies but in this case the honor is well deserved

 

[Georgeclark]

View attachment 233721 View attachment 233723 View attachment 233722

Next page is faulty so posting text continued from above :

steadily decline, for many samurai this was the final insult. The Japanese leaders
felt they needed to modernise to avoid being left behind and the samurai
were simply one of the casualties of war; the government believed that in their
current form they belonged to a different era and had no relevance in this new
Japan they were forging.

There were some samurai that adapted to this modernisation process and, for
the good of the country, abandoned their old beliefs and tried to put themselves
at the forefront of this new Japan. The government instigated a programme
to rehabilitate samurai, help them find employment and try to place them at
the head of enterprises, as they were more educated than the majority of the
population. However, a group of samurai decided that the country was changing
too fast and losing its culture and traditions. They were led by Saigo Takamori
and decided to take a stand.

Saigo Takamori was a great bear of a man who stood nearly six-feet tall with a
stout and sturdy frame. Born the son of a low-ranking samurai he had previously
fallen into disgrace following the death of his lord and had been banned to a
remote island, but was later readmitted to a daimyo’s
army and regained his honour. He had played a
prominent role in the setting up of the new Meiji
government and in 1871CE was even left in charge
of the caretaker government during the absence of
many senior statesmen. Even though he opposed
the Westernisation of the country it was actually
when his proposal to invade Korea was rejected that
he resigned from the government and returned to
Kagoshima where he set up a local military school.
He soon gathered supporters among disenchanted
samurai and those harbouring ill intentions against
the central government.

Takamori’s footnote in history looked destined to
be a minor one, as he lived out his days honouring
the old samurai tradition and teaching. However,
in 1877CE a group of samurai rebels raided and
occupied government ammunition and weapon
depots and proclaimed him as their leader.
Reluctantly, he would lead the last samurai charge.
As word spread of the rebellion, samurai and
peasants from across Japan flocked to join the cause
and soon Takamori was in charge of 40,000 men.
A good figure, but no match for the government’s
force of 300,000 trained in more-modern warfare
and with appropriate weaponry.

The rebel forces marched on the well-fortified Kumamoto Castle and, with their samurai and
peasant army armed with guns, surrounded the castle. For two bloody nights
the army threw itself at the walls in a ferocious attempt to scale them, but the
attacks were repelled time and again by gunfire and had no co-ordinated plan
for how to breach the fortifications.

When a government relief force arrived and engaged with the rebels, several
sharp clashes ensued before both sides retreated. The rebellion went on to
last for six months and, while both sides gained victories, the government
army could replenish any lost forces much easier than the rebels, who were
gradually ground down by superior technological firepower, such as warships.
It is estimated that the Imperial forces lost more than 6,000 troops and had
10,000 wounded, while the much smaller samurai army had 7,000 casualties
and 11,000 wounded. Following a series of engagements, the depleted rebel force
sneaked into Kagoshima and took possession of a castle mountain in Shiroyma.
It took the government troops several days to locate them but when they did,
there was no doubt what the eventual outcome would be. Takamori organised a
sake party for his closest friends, an impressive display of bloody-mindedness, as
he must have known what was coming.

It was to be his last night alive, as at 3.00am Imperial forces stormed the
mountain castle. By the time they were repelled, only 40 of the rebels were still
alive and Takamori was badly injured. Being rendered unable to fight, Takamori
did what honour dictated, as did the remaining samurai who charged into the
bullets of the waiting Imperial army. The age of the samurai may have been
extinguished that day, but it was done in such a way as to display perfectly all
of the central ideals that had made this warrior class so legendary – honour,
courage and loyalty

-----------------------------------------------------------------------------------------

Two ex-samurai in their old armor. 1870View attachment 233720


View attachment 233719


@Nihonjin1051 @Gufi

This was a nice Read, good job man

 

[neolithic]

Samurai (meaning in Wiktionary)

 

[macnurv]

Thanks @Nihonjin1051 for this informative thread. I would like to add few things here, with little knowledge I have on this subject. I personally believe that we have over romanticized they myth of nobel warrior that is a samurai. Although there are no doubts about their bravery, but they were one of the biggest reasons that won't kept Feudal japan locked in a cycle of vicious civil war. Loyalty and honor is central of their way of life yet all too often they induced in back stabbing and deceit, all in all their loyalty was questionable. But one group of warriors that was loyal and often just overlooked as assassins for hire were Ninjas who not only displayed more loyalty but didn't changed sides as often as Samurais and their over lords.

Again I am not trying to look down on Samurais and their legacy or their place in Japanese history but we must not make the mistake of over romanticizing history, it just renders us unable to have an objective look.

 

[macnurv]

Here is some addition from me, I hope it still remains within the theme of this thread.

Warring States Japan: Sengoku Jidai - I: Battle of Okehazama - Extra History

Warring States Japan: Sengoku Jidai - II: The Siege of Inabayama Castle - Extra History

Warring States Japan: Sengoku Jidai - III: Warrior Monks of Hongan-ji and Hiei - Extra History

Warring States Japan: Sengoku Jidai - IV: The Death of Oda Nobunaga - Extra History

Warring States Japan: Sengoku Jidai - V: How Toyotomi Unified Japan - Extra History

Warring States Japan: Sengoku Jidai - VI: The Campaign of Sekigahara - Extra History

Warring States Japan: Sengoku Jidai - Lies - Extra History

 

[AUSTERLITZ]

Great initiative mate,i noticed u said u intend to do analysis of feudal age battles.I may have some good info sources with maps etc on the campaigns of sekigahara,osaka castle,campaigns of nobunaga and 5 battles of kawankajima.Could you please send me ur email so i can send these if u want.I myself have wanted to do one,but never find the time.Its great to see u take the initiative.

 

[Gufi]

In my opinion there are some faults with the definitions of the Shogun here, as well as the Daimyos.

Also merchants were less respected then farmers, then came those who worked in places like tanneries ,etc. Eta, I think they were called if I am not mistaken.

Also the Katana was part of the Samurai weaponry but it is forgotten by many that they were expert bowmen. The way they used their bows was artistic in nature, with accuracy being less important then the firm control and speed of release as well as the apparent leisurely way they fired these arrows. This does not mean accuracy was not important, and from old manuscripts it is clear that Japanese had very accurate bowmen who played important roles in battles.


Regarding Seppuku the way defined was for men and this too is too simplistic, and the seppuku for women is absent. both men and women were Samurai and both took their duties equally seriously. Great control was needed to raise Samurai children and manage household finances, while making sure that enough money was spared to take care of weapons and armour for the husband, and controlling their fief, all which were very difficult also.

@Nihonjin1051 please read and correct, as always I will differ to your knowledge on this matter



Now to the next post which deals with archery and Samurai
What is Kyudo?

Kyudo, which literally means The Way of the Bow, is considered by many to be the purest of all the martial ways. In the past, the Japanese bow was used for hunting, war, court ceremonies, games, and contests of skill. The original word for Japanese archery was kyujutsu (bow technique) which encompassed the skills and techniques of the warrior archer. Some of the ancient schools, known as ryu, survive today, along with the ancient ceremonies and games, but the days where the Japanese bow was used as a weapon are long past. Modern kyudo is practiced primarily as a method of physical, moral, and spiritual development.

No one knows exactly when the term kyudo came into being but it was not until the late nineteenth century when practice centered almost exclusively around individual practice that the term gained general acceptance. The essence of modern kyudo is said to be synonymous with the pursuit of truth, goodness, and beauty.

Truth in kyudo is manifested in shooting that is pure and right-minded, where the three elements of attitude, movement, and technique unite in a state of perfect harmony. A true shot in kyudo is not just one that hits the center of the target, but one where the arrow can be said to exist in the target before its release.

Goodness encompasses such qualities as courtesy, compassion, morality, and non-aggression. In kyudo, goodness is shown by displaying proper attitude and behavior in all situations. A good kyudo archer is a person who maintains his or her composure and grace even in times of great stress or conflict.

Beauty both enhances life and stimulates the spirit. In kyudo, truth and goodness, themselves, are considered beautiful. Beauty can also be found in the exquisite grace and artistry of the Japanese bow and the elegance of the traditional archer's attire. It is also present in the refined etiquette that surrounds the kyudo ceremony. Etiquette, which is simply common courtesy and respect for others, is an essential element of kyudo practice.

Much has been written about the philosophical connections of kyudo. Perhaps most known is the book Zen in the Art of Archery by Eugen Herrigel. In his book Mr. Herrigel sets forth his experiences with kyudo in the 1930's. It was a beautifully written account that has been translated into many languages, giving people worldwide their first glimpse of the art. Unfortunately, the book was very one-sided in its description of kyudo as a Zen art and is responsible for a lot of the current misconception surrounding the practice of kyudo as a religious activity.
While kyudo is not a religion it has been influenced by two schools of Eastern philosophy: The previously mentioned Zen, a form of Buddhism imported from China, and Shintoism, the indigenous faith of Japan. Of the two, the influence of Shintoism is much older. Ritualistic use of the bow and arrows have been a part of Shintoism for over two thousand years. Much of the kyudo ceremony, the attire worn by the archers, and the ritual respect shown for the equipment and shooting place are derived from ancient Shinto practice.
The influence of Zen, on the other hand, is more recent, dating back to the Kamakura Period (1185-1333) when the warrior archers adopted Zen as their preferred method of moral training. Zen's influence on kyudo became even greater in the seventeenth and eighteenth centuries when Japan, as a whole, experienced a period of civil peace. During that time the practice of kyudo took on a definite philosophical leaning. This is the period when sayings like "one shot, one life" and "shooting should be like flowing water" were associated with the teaching of kyudo. Because of its long and varied past, modern Japanese archery will exhibit a wide variety of influences. Today, at any given kyudojo (practice hall), one can find people practicing ancient kyujutsu, ceremonial court games, rituals with religious connections, and contests of skill. The key to understanding kyudo is to keep an open mind and realize that any style of kyudo you see or practice is but a small part of a greater whole, and that each style has its own history and philosophical underpinnings which make them all equally interesting and important.

History and Development of Kyudo

Historically, Japanese archery has been shrouded in myth and legend, making it difficult to assemble a completely accurate account of its development. Still, by focusing on the similarities recorded in ancient chronicles, historians have managed to piece together a reliable picture of the historical development of kyudo. For clarity we have divided that development into five historical stages: Prehistoric (7,000 B.C to A.D. 330), Ancient (330-1192), Feudal (1192-1603), Transitional (1603-1912), and Modern (1912 to the present).


The Prehistoric Period

It goes without saying that the evolution of Japanese archery closely coincides with the development and use of the Japanese bow. The earliest known inhabitants of the Japanese islands, a hunter-gatherer culture known as the Jomon relied heavily on the use of the bow. Their bows were of different lengths but most were the short, center-gripped type common to other primitive cultures. The Jomon bow was primarily used as a hunting tool but it is quite probable that it was also used in tribal warfare and ritual. From around 250 B.C to A.D. 330 the Yayoi culture flourished. During this time the bow came to be used as a symbol of political power. Legend says that Japan's first ruler was Emperor Jimmu, (illustration at right) who ascended to the thone in 660 B.C. And while many historians dispute this, the fact remains that in paintings and descriptions of his life Jimmu is always depicted holding a long bow, a symbol of his authority. A bronze casting from the Yayoi period appears to show the use of a long asymmetrical bow. And a written account compiled by the Chinese in the third century describes the Japanese as using a bow with upper and lower limbs of differing length, so it is highly likely that the unique asymmetrical design of the Japanese bow was adopted during the Yayoi period.

The Ancient Period

During this period Japan was strongly influenced by Chinese culture. It was then that ceremonial archery became an important part of the court system. The Japanese bowmakers also began to borrow the composite construction used by the Chinese, and by the tenth century had developed a two-piece composite bow using bamboo and wood. The Ancient period also saw the rise of the samurai, or warrior class, and the bow saw even greater use as a weapon of war as the samurai struggled to establish themselves as a powerful new social class.

The Feudal Period

In 1192 Minamoto no Yoritomo was granted the title of shogun, or military governor, and established stricter standards for his warriors. As part of that training, Ogasawara Nagakiyo, the founder of Ogasawara Ryu, was instructed to teach mounted archery in a more formal manner. It was during this time that the kyujutsu ryu, the schools of archery technique, came into their own. One of the most influential archers of the time was Heki Danjo Masatsugu, the founder of Heki Ryu, who lived from 1443 to 1502. He is credited with standardizing the training of kyujutsu which no doubt assured its continued growth and development, even into modern times. It was during the Feudal period that the construction of the Japanese bow reached its peak. By the late sixteenth century it was regarded as being near perfect in design. So much so, that the bamboo and wood laminate bows used in modern kyudo are nearly identical to those made four hundred years ago. As it turned out, the end of the sixteenth century also spelled the end of the bow's usefulness as a weapon of war when Oda Nobunaga, commanding conscripts armed with muskets, defeated the opposing force of kyujutsu archers in a major battle in 1575.

The Transitional Period

In the seventeenth century Japan's period of civil war ceased and the emphasis of Japanese archery gradually changed from kyujutsu to kyudo, or, in other words, from the technique of fighting with a bow to the way of personal development. The Transitional period also saw the general public become more involved with the practice of archery. As the twentieth century dawned, Honda Toshizane, a kyudo instructor at Tokyo Imperial University, combined elements of the warrior and ceremonial styles to create a hybrid form that came to be known as Honda Ryu. Although the traditional schools were against the creation of this hybrid form, Honda Toshizane is widely credited today with ensuring the survival of kyudo in the twentieth century.

The Modern Period

In the early 1930's it became evident that modern kyudo would need to be standardized in some way to guarantee its continued growth. The issue was hotly debated and the agreement that was reached in 1934 was tentative at best. After World War II, the practice of kyudo, along with all other martial arts, was banned by the occupation forces. It wasn't until 1949 that final authorization was granted and the Zen Nihon Kyudo Renmei (known as the All Nippon Kyudo Federation in English) was formed. In 1953 the kyudo kyohon (manual) was published, establishing the shooting procedures that are in common use today.

The Spirit of Kyudo
Our teacher, Hideharu Onuma sensei, believed that one's spirit was like a great oak tree, and in order for it to realize its greatest potential the seeds had to be planted early. He, of course, recognized the importance of technique; teaching that technique was the gateway to the spiritual level. But more often, he liked to echo the sayings of past kyudo masters and teach that "shooting with technique improves the shooting, but shooting with spirit improves the man."

Because the practice of kyudo involves little in the way of hard physical activity, spirit is extremely important. When the spirit is weak the shooting becomes dull and lifeless. Onuma sensei taught that if the spirit is strong one will appear like a deep-flowing river, calm on the surface but with tremendous power hidden in the depths. Compare that to someone whose internal spirit is weak. Like a small stream, they may appear powerful because of all their noise and turbulence, but underneath they are shallow and devoid of any real power.
Strict self-control and emotional stability are crucial to the development of one's spirit and to the practice of kyudo. But some are unwilling to adhere to the strict ceremonial procedures that the practice of kyudo requires. These people argue that any attempt at self-control stifles creativity. Attitudes such as this, however, are usually little more than an attempt to use unorthodox methods as a cover for insufficient skill or knowledge. True creativity is sister to the spirit and both are born of simplicity. They are not a product of the intellect, but surface only when the rational mind is quieted and the intuitive thought process takes over. The guidelines and procedures established for the practice of kyudo have been borrowed from generations of past teachers, and are designed to put the analytical mind to rest and allow the practitioner to move into a state of consciousness known as mushin (literally, no mind). And while some may associate a state of no mind with unconsciousness or even death, it is in truth a state where the remnants of thought are eliminated and only pure thought remains.
It is important to mention here that kyudo, by itself, cannot solve our problems nor add anything to our lives; at least not in the beginning. Kyudo may look simple but it is deceptively complex. Onuma sensei liked to tell us that the practice of kyudo made him feel like "A blind turtle in the middle of the ocean searching for a log." It is that complexity, however, that makes kyudo such a rewarding instrument for self-discovery. Its practice peels away the protective layers of ego that we all hide behind and allows our true nature to be revealed. It is then our responsibility to examine the results and balance our character accordingly. Perhaps the best way to explain the spirit of kyudo is to put it in Onuma sensei's words: "When shooting, sometimes we will hit the target but miss the self. At other times we will miss the target but hit the self. Our purpose, though, is to hit the target as the self and hope that the sharp sound of arrow penetrating paper will awaken us from the so-called 'dream of life' and give us real insight into the ultimate state of being."

Kyudo Technique
Kyudo has developed along two historical lines: bushakei, the shooting style of the foot soldier and kishakei, the style of the mounted archer. Kishakei is commonly known today as reishakei, or ceremonial style. In addition, there are two methods of readying the bow: shamen no kamae (oblique stance) which is most often associated with Heki Ryu, and shomen no kamae (frontal stance) commonly used by Ogasawara Ryu and Honda Ryu. All of these methods are accepted standards of the All Nippon Kyudo Renmei.
Kyudo: Japanese Archery

 

[IrbiS]

In my opinion there are some faults with the definitions of the Shogun here, as well as the Daimyos.

Also merchants were less respected then farmers, then came those who worked in places like tanneries ,etc. Eta, I think they were called if I am not mistaken.

Also the Katana was part of the Samurai weaponry but it is forgotten by many that they were expert bowmen. The way they used their bows was artistic in nature, with accuracy being less important then the firm control and speed of release as well as the apparent leisurely way they fired these arrows. This does not mean accuracy was not important, and from old manuscripts it is clear that Japanese had very accurate bowmen who played important roles in battles.


Regarding Seppuku the way defined was for men and this too is too simplistic, and the seppuku for women is absent. both men and women were Samurai and both took their duties equally seriously. Great control was needed to raise Samurai children and manage household finances, while making sure that enough money was spared to take care of weapons and armour for the husband, and controlling their fief, all which were very difficult also.

@Nihonjin1051 please read and correct, as always I will differ to your knowledge on this matter


Now to the next post which deals with archery and Samurai
What is Kyudo?

Kyudo, which literally means The Way of the Bow, is considered by many to be the purest of all the martial ways. In the past, the Japanese bow was used for hunting, war, court ceremonies, games, and contests of skill. The original word for Japanese archery was kyujutsu (bow technique) which encompassed the skills and techniques of the warrior archer. Some of the ancient schools, known as ryu, survive today, along with the ancient ceremonies and games, but the days where the Japanese bow was used as a weapon are long past. Modern kyudo is practiced primarily as a method of physical, moral, and spiritual development.

No one knows exactly when the term kyudo came into being but it was not until the late nineteenth century when practice centered almost exclusively around individual practice that the term gained general acceptance. The essence of modern kyudo is said to be synonymous with the pursuit of truth, goodness, and beauty.

Truth in kyudo is manifested in shooting that is pure and right-minded, where the three elements of attitude, movement, and technique unite in a state of perfect harmony. A true shot in kyudo is not just one that hits the center of the target, but one where the arrow can be said to exist in the target before its release.

Goodness encompasses such qualities as courtesy, compassion, morality, and non-aggression. In kyudo, goodness is shown by displaying proper attitude and behavior in all situations. A good kyudo archer is a person who maintains his or her composure and grace even in times of great stress or conflict.

Beauty both enhances life and stimulates the spirit. In kyudo, truth and goodness, themselves, are considered beautiful. Beauty can also be found in the exquisite grace and artistry of the Japanese bow and the elegance of the traditional archer's attire. It is also present in the refined etiquette that surrounds the kyudo ceremony. Etiquette, which is simply common courtesy and respect for others, is an essential element of kyudo practice.

Much has been written about the philosophical connections of kyudo. Perhaps most known is the book Zen in the Art of Archery by Eugen Herrigel. In his book Mr. Herrigel sets forth his experiences with kyudo in the 1930's. It was a beautifully written account that has been translated into many languages, giving people worldwide their first glimpse of the art. Unfortunately, the book was very one-sided in its description of kyudo as a Zen art and is responsible for a lot of the current misconception surrounding the practice of kyudo as a religious activity.
While kyudo is not a religion it has been influenced by two schools of Eastern philosophy: The previously mentioned Zen, a form of Buddhism imported from China, and Shintoism, the indigenous faith of Japan. Of the two, the influence of Shintoism is much older. Ritualistic use of the bow and arrows have been a part of Shintoism for over two thousand years. Much of the kyudo ceremony, the attire worn by the archers, and the ritual respect shown for the equipment and shooting place are derived from ancient Shinto practice.
The influence of Zen, on the other hand, is more recent, dating back to the Kamakura Period (1185-1333) when the warrior archers adopted Zen as their preferred method of moral training. Zen's influence on kyudo became even greater in the seventeenth and eighteenth centuries when Japan, as a whole, experienced a period of civil peace. During that time the practice of kyudo took on a definite philosophical leaning. This is the period when sayings like "one shot, one life" and "shooting should be like flowing water" were associated with the teaching of kyudo. Because of its long and varied past, modern Japanese archery will exhibit a wide variety of influences. Today, at any given kyudojo (practice hall), one can find people practicing ancient kyujutsu, ceremonial court games, rituals with religious connections, and contests of skill. The key to understanding kyudo is to keep an open mind and realize that any style of kyudo you see or practice is but a small part of a greater whole, and that each style has its own history and philosophical underpinnings which make them all equally interesting and important.

History and Development of Kyudo

Historically, Japanese archery has been shrouded in myth and legend, making it difficult to assemble a completely accurate account of its development. Still, by focusing on the similarities recorded in ancient chronicles, historians have managed to piece together a reliable picture of the historical development of kyudo. For clarity we have divided that development into five historical stages: Prehistoric (7,000 B.C to A.D. 330), Ancient (330-1192), Feudal (1192-1603), Transitional (1603-1912), and Modern (1912 to the present).


The Prehistoric Period

It goes without saying that the evolution of Japanese archery closely coincides with the development and use of the Japanese bow. The earliest known inhabitants of the Japanese islands, a hunter-gatherer culture known as the Jomon relied heavily on the use of the bow. Their bows were of different lengths but most were the short, center-gripped type common to other primitive cultures. The Jomon bow was primarily used as a hunting tool but it is quite probable that it was also used in tribal warfare and ritual. From around 250 B.C to A.D. 330 the Yayoi culture flourished. During this time the bow came to be used as a symbol of political power. Legend says that Japan's first ruler was Emperor Jimmu, (illustration at right) who ascended to the thone in 660 B.C. And while many historians dispute this, the fact remains that in paintings and descriptions of his life Jimmu is always depicted holding a long bow, a symbol of his authority. A bronze casting from the Yayoi period appears to show the use of a long asymmetrical bow. And a written account compiled by the Chinese in the third century describes the Japanese as using a bow with upper and lower limbs of differing length, so it is highly likely that the unique asymmetrical design of the Japanese bow was adopted during the Yayoi period.

The Ancient Period

During this period Japan was strongly influenced by Chinese culture. It was then that ceremonial archery became an important part of the court system. The Japanese bowmakers also began to borrow the composite construction used by the Chinese, and by the tenth century had developed a two-piece composite bow using bamboo and wood. The Ancient period also saw the rise of the samurai, or warrior class, and the bow saw even greater use as a weapon of war as the samurai struggled to establish themselves as a powerful new social class.

The Feudal Period

In 1192 Minamoto no Yoritomo was granted the title of shogun, or military governor, and established stricter standards for his warriors. As part of that training, Ogasawara Nagakiyo, the founder of Ogasawara Ryu, was instructed to teach mounted archery in a more formal manner. It was during this time that the kyujutsu ryu, the schools of archery technique, came into their own. One of the most influential archers of the time was Heki Danjo Masatsugu, the founder of Heki Ryu, who lived from 1443 to 1502. He is credited with standardizing the training of kyujutsu which no doubt assured its continued growth and development, even into modern times. It was during the Feudal period that the construction of the Japanese bow reached its peak. By the late sixteenth century it was regarded as being near perfect in design. So much so, that the bamboo and wood laminate bows used in modern kyudo are nearly identical to those made four hundred years ago. As it turned out, the end of the sixteenth century also spelled the end of the bow's usefulness as a weapon of war when Oda Nobunaga, commanding conscripts armed with muskets, defeated the opposing force of kyujutsu archers in a major battle in 1575.

The Transitional Period

In the seventeenth century Japan's period of civil war ceased and the emphasis of Japanese archery gradually changed from kyujutsu to kyudo, or, in other words, from the technique of fighting with a bow to the way of personal development. The Transitional period also saw the general public become more involved with the practice of archery. As the twentieth century dawned, Honda Toshizane, a kyudo instructor at Tokyo Imperial University, combined elements of the warrior and ceremonial styles to create a hybrid form that came to be known as Honda Ryu. Although the traditional schools were against the creation of this hybrid form, Honda Toshizane is widely credited today with ensuring the survival of kyudo in the twentieth century.

The Modern Period

In the early 1930's it became evident that modern kyudo would need to be standardized in some way to guarantee its continued growth. The issue was hotly debated and the agreement that was reached in 1934 was tentative at best. After World War II, the practice of kyudo, along with all other martial arts, was banned by the occupation forces. It wasn't until 1949 that final authorization was granted and the Zen Nihon Kyudo Renmei (known as the All Nippon Kyudo Federation in English) was formed. In 1953 the kyudo kyohon (manual) was published, establishing the shooting procedures that are in common use today.

The Spirit of Kyudo
Our teacher, Hideharu Onuma sensei, believed that one's spirit was like a great oak tree, and in order for it to realize its greatest potential the seeds had to be planted early. He, of course, recognized the importance of technique; teaching that technique was the gateway to the spiritual level. But more often, he liked to echo the sayings of past kyudo masters and teach that "shooting with technique improves the shooting, but shooting with spirit improves the man."

Because the practice of kyudo involves little in the way of hard physical activity, spirit is extremely important. When the spirit is weak the shooting becomes dull and lifeless. Onuma sensei taught that if the spirit is strong one will appear like a deep-flowing river, calm on the surface but with tremendous power hidden in the depths. Compare that to someone whose internal spirit is weak. Like a small stream, they may appear powerful because of all their noise and turbulence, but underneath they are shallow and devoid of any real power.
Strict self-control and emotional stability are crucial to the development of one's spirit and to the practice of kyudo. But some are unwilling to adhere to the strict ceremonial procedures that the practice of kyudo requires. These people argue that any attempt at self-control stifles creativity. Attitudes such as this, however, are usually little more than an attempt to use unorthodox methods as a cover for insufficient skill or knowledge. True creativity is sister to the spirit and both are born of simplicity. They are not a product of the intellect, but surface only when the rational mind is quieted and the intuitive thought process takes over. The guidelines and procedures established for the practice of kyudo have been borrowed from generations of past teachers, and are designed to put the analytical mind to rest and allow the practitioner to move into a state of consciousness known as mushin (literally, no mind). And while some may associate a state of no mind with unconsciousness or even death, it is in truth a state where the remnants of thought are eliminated and only pure thought remains.
It is important to mention here that kyudo, by itself, cannot solve our problems nor add anything to our lives; at least not in the beginning. Kyudo may look simple but it is deceptively complex. Onuma sensei liked to tell us that the practice of kyudo made him feel like "A blind turtle in the middle of the ocean searching for a log." It is that complexity, however, that makes kyudo such a rewarding instrument for self-discovery. Its practice peels away the protective layers of ego that we all hide behind and allows our true nature to be revealed. It is then our responsibility to examine the results and balance our character accordingly. Perhaps the best way to explain the spirit of kyudo is to put it in Onuma sensei's words: "When shooting, sometimes we will hit the target but miss the self. At other times we will miss the target but hit the self. Our purpose, though, is to hit the target as the self and hope that the sharp sound of arrow penetrating paper will awaken us from the so-called 'dream of life' and give us real insight into the ultimate state of being."

Kyudo Technique
Kyudo has developed along two historical lines: bushakei, the shooting style of the foot soldier and kishakei, the style of the mounted archer. Kishakei is commonly known today as reishakei, or ceremonial style. In addition, there are two methods of readying the bow: shamen no kamae (oblique stance) which is most often associated with Heki Ryu, and shomen no kamae (frontal stance) commonly used by Ogasawara Ryu and Honda Ryu. All of these methods are accepted standards of the All Nippon Kyudo Renmei.
Kyudo: Japanese Archery

They maybe oversimplified as you said but our Samurai Niho will solve the problem.

Ladies practiced jigaki / jigai

Women have their own ritual suicide, Jigaki. Here, the wife of Onodera Junai, one of the Forty-seven Ronin, prepares for her suicide; note the legs tied together, a female feature of seppuku to ensure a "decent" posture in death.