The Sacred Sword—The Emergence of Kusanagi-no-Tsurugi
In discussions concerning Japanese mythology, there are said to be two ancient and sacred swords of significance. The first is the aforementioned Futsu-no-Mitama-no-Tsurugi, and the other is the Kusanagi-no-Tsurugi. Incidentally, there are texts that consider the Totsuka-no-Tsurugi as the third sacred sword of significance, however this is incorrect. Totsuka-no-Tsurugi actually refers toa splendid sword with blade ten-fists long, and is not the name of a specific sword per se.
The origin of the Kusanagi-no-Tsurugi is found in the myth of Yamata-no-Ōrochi. To summarise the main points of this myth, the kami Susanō descended from Takamagahara and travelled to the river Hi in the province of Izumo where he comes across a young maiden sitting between a tearful elderly couple at the head-waters of the river. Inquiring about their sorrow, he was told that each year Yamata-no-Orochi, an eight-headed serpent, comes to devour one of their daughters, and is returning to take away another soon. On the premise that he can marry the girl, Kushinada-hime, Susanō promises that he will destroy the monster.
A very strong brew of sake is prepared and left out for the serpent to consume. The serpent drinks the brew and becomes drowsy, at which point Susanō uses his Totsuka-no-Tsurugi (ten-fist long sword) to slice it up into little pieces. As Susanō cut into one of the monster’s eight tails, the blade of his sword cracks. Puzzled, Susanō continued to cut up the tail, until he came across a truly divine sword within. The sword he had found was known as Ame-no-Murakumo-no-Tsurugi, but was later renamed Kusanagi-no-Tsurugi. Susanō believed this sword to be divine, and he handed it to Amaterasu Ōmikami in the heavenly realm. These are the main points of the myth.
Generally this myth is appreciated for its princess and dragon theme. It is like a Perseus and Andromeda type portrayal of a hero slaying a monster, thereby rescuing and then wedding the damsel in distress. However in this case I would like to examine this myth in line with the theme of this article.
Firstly, the river that provides the setting for this tale is the Hii River in the province of Izumo – a raging river that is said to have burst its banks many times in the past. Yamata-no-Orochi could be symbolic of the ferocious spirit of river, and his unusual appearance of eight heads and eight tails could represent the numerous junctions and forks in the river. The river was a wild kami, and the object of much fear. As the monster returned every year to devour another maiden, this state of affairs suggests that the people of this region often fell victim to the torrid river. Just as was the case with the fear felt towards the wild kami of fire, civilisation was able to advance as this kami was tamed. Accordingly, the sword which is symbolic of an advancing civilisation is used to kill the root of this fear.
The Hii River has long been known for its high quality of iron sand. Even today, in a place called Yokota situated upstream, iron manufacturers make the raw material for the manufacture of swords. In this context, this myth explains that from the serpent Yamata-no-Orochi, a symbol of the Hii River, a sacred sword emerges in the terrestrial realm which was then presented to the heavens.
The Three Imperial Regalia
Following its appearance in the Myth of Yamata-no-Orochi, the Kusanagi-no-Tsurugi then reappears as one of the three Imperial Regalia in the myth of the “Decent to Earth by the Grandson of the Amaterasu Ōmikami”. As discussed previously, due to Takemikazuchi’s dispatch, the land was claimed and the grandchild of Amaterasu, Ho-no-ninigi (also known as Ninigi-no-Mikoto), was finally able to descend to the terrestrial realm to rule. In this story, Amaterasu Ōmikami bestows on her grandson the Yata-no-Kagami (the eight-pan mirror), Kusanagi-no-Tsurugi (the Ame-no-Murakumo-no-Tsurugi), and the Yasakani-no-Magatama (the string of jewels); three treasures as evidence of his sovereign power on earth. These items became the three Imperial Regalia.
The myth of the “Decent of the Grandson of Amaterasu Ōmikami” speaks of the nobility of the emperor in terms of his direct lineage with the deity, and therefore has always contained a strong political nuance. As a result, it is conceivable that many parts of this myth have been modified. For instance, of the many theories put forward, some suggest that the initial Imperial Regalia only included the sword and the mirror, or that the sword itself was different to the one featured in the myth of Yamata-no-Orochi. Although the scope of this article does not allow for a detailed investigation of all of these theories, I would like to touch on the essential elements of the Regalia that have been handed down through each generation of emperors.
In order to prevent disaster and receive blessings for a good harvest, ancient people held festivals to pray and communicate with the gods in which shamans mediated between the two worlds. The shamans who used magic held considerable sway in society. Watsuji Tetsurō stated that the unification of ancient Japan was accomplished via “rituals of control”.[8] The most powerful user of magical powers in governance was the emperor. The magical implements used by the emperor when communicating with the kami were a mirror, a sword, and beads, the three items that became associated with imperial ascendancy as the Imperial Regalia.
The myth of the “Decent of the Grandson of Amaterasu” tells of the powerful authority of the deity, and her influence on matters in actual society. The divine sword from the celestial high plain in the myth was utilised by the emperor as a magical implement in his role as a necromancer, and that is what I will focus on here.
The three Imperial Regalia are not simply an ancient story. Through a myriad processes, even today, they function as a symbol of imperial ascendancy.[9] A recent example was after the passing of the Shōwa emperor, the Regalia were ceremonially transferred during the coronation of the next emperor. The myth of the “Decent of the Grandson of Amaterasu” provides what is usually considered the basis for the sacred nature of the Regalia in modern times.
Iku-tachi and Iku-yumiya
In the beginning, before the grandchild of Amaterasu descended to the terrestrial plain, Ashihara-no-Nakatsu-Kuni, it was ruled by the earthly kami Ōkuni-nushi. However, Ōkuni-nushi had to endure many trials in the underworld to reach this position. The myth that describes these events is the myth of the “Underworld” (Ne-no-Kuni).
Also known as Ōnamuchi, Ōkuni-nushi was killed twice over by his many jealous sibling Yasogami, and it was his mother who resuscitated him. In order to escape the persecution of the Yasogami, he retreated to the underworld known as Ne-no-Kuni. This realm was controlled by Susanō, but upon his arrival, Ōnamuchi falls in love with Susanō’s daughter Suseribime. Ōnamuchi is tested by being made to sleep in a rooms filled with snakes, centipedes, and hornets. With the help of Suseribime, he was able to overcome his ordeals through the use of magic.[10] Ōnamuchi then underwent further, harsher tribulations, but was able to prevail. Taking advantage of an opportunity while Susanō slept, Ōnamuchi snatches the magical treasures of Ne-no-Kuni including the Iku-tachi sword and the Iku-yumiya bow and arrows, and the Ame-no-Norigoto(a stringed instrument given to Suseribime by her father). Then, together with Suseribime he fled the underworld. When Susanō awoke, he is said to have called out to Ōnamuchi; “use the sword of life and the bow and arrow of life, and expel your sibling the Yasogami. Then you will be known as Ōkuni-nushi, the ruler of the terrestrial world”. Ōnamuchi did exactly that, and became the ruler known as Ōkuni-nushi, or the king of a great land.
The Ame-no-Norigoto that Ohonamuchi took from Susanō was a tool of magic, possession of which would aid in the foretelling of prophesies. The Iku-tachi and the Iku-yumiya were also mystical tools carried by a ruler, and similar to the three imperial regalia, acted as a symbol of a ruler’s status. Over and above all, depictions of this whole incident are extremely mystical in nature. As such, it is important to emphasise as with the yumiya (bow and arrow) and the tachi,[11] these were magical tools that were used to dispel evil gods such as Yasogami.
The Bow and Arrow from the Heavens
Another noteworthy story when discussing the bow and arrow is the myth of Ame-no-Wakahiko. The myth of the “Relinquishment of the Land” with Takemikazuchi has already been covered in this article, but there is a prelude to this story. Prior sending Takemikazuchi to the terrestrial realm, Amaterasu Ōmikami had already dispatched two other messengers—both of whom were unsuccessful. The first, Ama-no-Hohi, was wooed by Ōkuni-nushi and failed to return for three years. The second was Ame-no-Wakahiko, and the following is a description of that myth.
As Ame-no-Wakahiko is chosen by Amaterasu Ōmikami to be the second messenger to descend to the terrestrial realm, Amaterasu presents Ame-no-Wakahiko with the bow known as Ame-no-Makako, and the arrow known as Ame-no-Haha[12]. Upon his descent, Ame-no-Wakahiko marries Ōkuni-nushi’s daughter, Shitateruhime, and fails to report back for eight years. In order to find out what was happening down there, Amaterasu dispatches a green pheasant known as Nakime. Using the bow and arrow he was gifted by Amaterasu, Ame-no-Wakahiko kills the pheasant.
The arrow penetrated the pheasant’s chest, and landed back in heaven in front of the kami. When the kami saw the blood on the arrow, they remarked “this is the arrow we gave on Ame-no-Wakahiko… if he was following orders and this arrow landed here after he released it to kill an evil kami, then its return will miss him. Yet, if this was an act committed with a treasonous mind, may our arrow smite him.” With that, the arrow was released back through the hole it had made, and the sleeping Ame-no-Wakahiko was hit in the chest and died.
This tale has two significant components. The first relates to the important role of descending to the terrestrial realm, and receiving of the bow and arrow as symbolic of this duty and status. A similar line of thought concerning the three sacred regalia is contained in the myth of the “Decent of the Grandson of Amaterasu”.
The other relates to the depiction of the death of the treasonous Ame-no-Wakahiko by an arrow that was released in return from the heavens. This is referred to as the magic art of ‘ukei’. It is a type of divination where, generally, one is told “if this is the case, this will happen.” Or, having made a vow, divine will and or the truth will be foretold.[13] The kami in heaven exclaim that if Ame-no-Wakahiko is pure of heart he will not be struck down, but if he harboured treasonous intent, he would be killed – a typical example of ukei divination. Ame-no-Wakahiko was perfidious, and this brought his ultimate demise. One further point to note is that in the magic art of ukei, an arrow is believed to have the power to exorcize evil.
The Red Lacquered Arrow
Of the ancient myths concerning arrows, the “Red Lacquered Arrow” is another story that deserves attention. First, the story recorded in the Kojiki as the “Selection of Jimmu’s Empress” about Isukeyori-hime, the woman who became emperor Jimmu’s wife.
The kami Ōmono-nushi fell in love with a beautiful maiden named Seyadatara-hime. Ōmono-nushi impregnated the maiden by transforming himself into a red lacquered arrow, and striking her in the genitals as she relieved herself beside a stream. Startled, Seyadatara-hime took the arrow home with her and placed it near her bed, at which point the arrow transformed into a handsome man. They then married and conceived a child named Isukeyori-hime, who would later become the consort of Emperor Jimmu.
There is another story with a similar theme—the Kamo legend—which is recoded in the Yamashiro-no Kuni Fūdoki. One day, as Tamayori-hime played in a small stream, a red lacquered arrow floated towards her on the water. She took the arrow home and set it down. She later fell pregnant and gave birth to a boy. The red lacquered arrow was actually an incarnation Hono-Ikazuchi-no-Kami, the deity of fire and thunder.
Both of these tales – myths of the ninuriya (the red lacquered arrow)—describe a red lacquered arrow floating down a stream, which then impregnates a maiden with the child of a kami. These arrows are avatars for kami. Similar to Tamemikazuchi becoming one with the sword (Futsu-no-Mitama-no-Tsurugi) in the myth of the “Relinquishment of the Land”, the kami in these cases are depicted as arrows.
Another characteristic of these myths is that the arrows which were an embodiment of the kami did not descend from the heavens as the tsurugi sword did. Rather, they floated down the river. Therefore, the kami of these myths are not of the heavenly realm, but are from the parallel plain, and as such, these stories are indicative of the mythology of ancient Japan before the perception of the worlds was altered to view kami as positioned vertically above.
Lastly, I would like to consider the use of the arrow itself. The ninuriya arrow is representative of lightning, vitality, and manhood; however it also harnessed an even more important attribute. The arrows in question are lacquered a vermillion colour. This colour signifies blood, and was considered to be highly magical. The ninuriya arrow had the mystical ability to create children of kami, and was also an implement with the power to exorcize evil spirits. Certainly there is a link between this and the myth of Ame-no-Wakahiko, where the bloodied arrow killed Ame-no-Wakahiko for being an evil kami.
Conclusion
This article looked at the role of bu in Japanese mythology, and established that the sword and arrows were used as magical tools when conducting bu as a dance. These items were also depicted in mythology as weapons; however it is improbable that they were utilised as weapons with same level of refined skill achieved later on. As such there is little ideological depth afforded to this aspect of their use.
Due to the sacredness of the mystical sword, and bow and arrow, it can be concluded that they are closely associated with the kami. The most obvious depictions of this can be seen in the myths of the “Relinquishment of the Land”, and the “Red Lacquered Arrow”, where the kami themselves become one with the sword and arrow. Furthermore, when the kami were in different spiritual realms, the sword and arrow moved back and forwards between the heavens and the earth allowing a connection to be established. Therefore, due to this mystical nature, the (magic) ability to use the sword and the arrow would act as a symbol of status. A major trait of magic in bu was that it enabled the administrator to borrow the power of the kami to dispel evil. This is what I term the “magic of hekija” (exorcising of evil spirits).[14]
All of these mythical images suggest a kind of ‘spiritual genetics’ which continued and influenced the development of Japanese spiritual outlooks, and greatly impacted the mind and thought of the bushi. The magic of hekija that utilised the sword and the bow and arrow are, in ancient mythology, directed at an peripheral evil. This is due to the fact that, in ancient Japanese society, it was generally the peripheral that surpassed human intelligence and understanding. However, as Japanese society shifted from the ancient into the historical age, and civilisation evolved, the interpretation of bu in the age of the warrior transformed into meaning “advancing on foot with weapons in hand”. Constantly facing their mortality, bushi realised that the truly impenetrable difficulties of life lay within themselves. It was through bu for dispelling evil that they attempted to solve problems. This is why the bushi would ensure that their swords – the symbol of theirstatus as warriors—were polished and spotless. They believed that this was a reflection of their mind and soul, and with a sense of heavenly intervention, they could purify their spirit.
Leading into peaceful times of the modern era, where the bushi mantra of bu evolved into the ideal “to stop fighting”, bu took on a new function separated from combat which entailed a more moral and ethical sense of spirituality. Here, further discussion is required concerning the beliefs of the tsurugi and their projection onto the nihontō, but this will discussed in a separate article. Suffice it to say, according to the mythological image, bushi initially used the perceived magical power of the sword to conceptually rid themselves of an “evil heart and mind”. The same could be said of the bow and arrow. This was a major characteristic of the bushi in Japanese spiritual history.
[8]Watsuji Tetsurō, Nippon Seishin-shi Kenkyū , Iwanami shoten(1996)
[9]The circumstances surrounding the three imperial regalia are complicated, but nowadays are usually explained in the following terms:
- The origin of Kusanagi-no-Tsurugi is believed to be in the myth of Yamata-no-Orochi (formally known at that point as the Ame-no-Murakumo-no-Tsurugi), while the establishmentof the Yata-no-Kagami (mirror) and Yasakani-no-Magatama (bead-jewels) are thought to be from the myth of Ame-no-Iwayato.
- The derivation of these three items as a set is found in the myth of the “Decent of the Grandson of Amaterasu Ōmikami” when the Sun Goddess presents them to the imperial ancestor Ho-no-Ninigi. Afterwards, they became known as the “three imperial regalia” and were hallowed as such from the time of Emperor Jimmu.
- In the time of Emperor Sujin, the divine sword and mirror were revered and entrusted to Toyosuki-Iribime-no-Mikoto, and enshrined in Kasanuimura in Yamato. A replica mirror and sword were created and enshrined in the imperial court as a ceremonial symbol of imperial ascendance.
- In the time of Emperor Suinin, the actual mirror and sword were moved from the Kasanuimura in Yamato, and taken to the upper reaches of the Isuzu River of Ise where they were entrusted to Yamatohime-no-Mikoto at Ise Shrine. From this point onwards the sacred Yata-no-Kagami mirror has been enshrined at Ise Shrine.
- In the time of Emperor Keikō, Prince Yamato Takeru received a sacred sword from Yamatohime-no-Mikoto before proceeding on a journey to the east. On this journey, Yamato Takeru was able to survive dangerous fire by mowing down the grass that surrounded him – and from this point the sword was known as “Kusanagi-no-Tsurugi” (grass mowing blade). See the tale of “Yamato Takeru’s Journey to the East”.
- During Yamato Takeru’s journey, he entrusted the sword to Miyazu-hime before dying. Miyazu-hime enshrines it in Owari in what is known now as the Atsuta Shrine, where it remains to this day.
- In the time of Emperor Tenji, a priest known as Dōgyō from the ancient Korean kingdom of Silla attempted to steal the sacred sword, but he was caught and it was returned.
- In the Gempei War between the Tiara and Minamoto clans, both sides attempt to gain possession of the three regalia. However the naval battle at Dannoura saw the downfall of the Heike, and the loss of the (replica) Kusanagi-no-Tsurugi into the ocean.
- The real Kusanagi-no-Tsurugi is in Atsuta Shrine, and the sword that sank to the bottom of the ocean in the battle of Dannoura was a replica. Later, another sword what is from Ise shrine enshrined in the imperial court instead of real replica sword.
[10]Specifically, he used the magical power snake, centipede and hornet repelling scarves given to him by Suseribime.
[11]In ancient times, similar to the term tōken referring to both katana and the tsurugi, ‘tachi’ was a general appellation given to sworda.
[12]They were changed in name to Ame-no-haji and the Ame-no-kaku.
[13]To give one example, there is the myth of Konohana-no-Sakuyabime. In this story, the grandchild of Amaterasu, Ninigi, sneaks into the sleeping chambers of Konohana-no-Sakuyabime and they conceive a baby. However, Ninigi denies that the child is his, and questions whether or not it was actually conceived with one of the earthly gods. In response to this Konohana-no-Sakuyabime says “if the child inside me is fathered by a deity of the earth, I will encounter problems during birth. If however this child is of the heavenly kami Ninigi, let it be born without complication.” I either case, if the birth happens the way she declared, this is verified as divine will. In the end, Konohana-no-Sakuyabime gives birth to three sons. Thus with divine will, her purity is proven. This is a typical example of ukei.
[14]Although it is not covered in this article, there is also a myth depicting Izanagi’s journey into the land of the dead, Yomi-no-Kuni, where he uses the magic sword to drive away impure and evil spirits. This shows an example of a magic hekija conducted by a deity.