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The gods and myths of Japanembra~e I AIlfIIC )
Shinto and Buddhist traditions, as w 'N as
popular agricultural-based folk belief' 1\\\1\\ \\\\\\1\\111
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With a pantheon of noble heroes, such' as
Yamato-takeru, and more than eight act 1') (,I,
million gods, Japanese mythology is OCT2110-"
extremely complex. NOVloot;
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Ancient Japanese society was agricultural,
and the tenets of Shintoism therefore \
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reflect the success or failure of farming. \
The system of beliefs lays great stress on
purity and clarity, and their opposite, filth,
which prevents growth. Mythical heroes in
Shinto belief often reflect the brute,
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unforgiving strength of nature, and Kingsley, He
consequently many Shinto legends are J apa neset qC)(
extremely bloodthirsty.Th~ great sun LPL
goddess Amaterasu is venerated above all
other gods and is believed to be the
direct ancestor of the Japanese royal
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Published by Chartwell Books
A Division of Book Sales Inc.
114 Northtield Avenue
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Edison, New Jersey 08837
USA
The Roots of l{l'li
Copyright @1998 Quantum Books Ltd
This edition printed in 1999
QUMJG&M
Set in Times
Reproduced in Singapore by Eray Scan
Printed in Singapore by Star Standard Industries (Pte) Ltd
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CONTENTS
YOHI(1/
OKO
, Great Legends 49
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THE ROOTS OF RELIGION
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THE ROOTS OF RELIGION
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same broad religious practices, which became uncleanliness, and stems from ke meaning a into three books, the first covering life with
known as Shinto, or "the way of the gods." mythical power to make things grow,and gare the gods; the second, dealings between hu-
meaning lacking. Together, kegare therefore mans and the gods; and the third, human life
SHINTO ETHICS means a lack of power to make things (and without the gods. It also traces the origins of
Agricultural life is hard physical work, and particularly rice), and uncleanliness is thus as- the imperial clan and the leading families of
requires activity to be coordinated with the sociated with failure to thrive. Japan. The Kojiki was until recently regard-
changing seasons.This integration ofpeople's ed as sacred. Many of its stories involve these
beliefs with their working lives still exists in WRITTEN RECORDS key concepts of purity and uncleanliness.
Japanese companies today - it is a common Writing probably did not arrive in Japan until The most popular hero in the Kojiki is
practice to build small Shinto shrines on top it was introduced by Buddhist missionaries, Yamato-takeru. His story is found in Book
of commercial buildings - but modern in- sent by the king of Korea in 552 A.D. The Two, which deals with man as he is about to
dustrial work lacks the sensitivity to nature Japanese immediately adopted the ancient depart from the world of the gods, and has
required for rice-growing. Nature and the Chinese system of writing and recording their the melancholictonethat characterizesso many
changing seasons were not seen as romantic religious beliefs. The main record of Shinto Japanese epics.
or beautiful, but life was lived according to myth and historical legend is the Kojiki, the
the dictates of the seasons. So not surprisingly, "Record of Ancient Things." completed in 712 BUDDHISTINFLUENCE
the conceptsofvirtuein Shintoismarereflected A.D. It clearly shows influences from both Buddhism was introduced to Japan from Korea
in the success, or failure, of farming. The no- Chinese and Indian Buddhism, but it is hard in the middle of the 6th century. The first, and
tions of purity, or clarity, and uncleanliness, to tell ,exactly how strong these influences were one of the most profound texts on Buddhism,
or filth, are the most fundamental concepts in as there is no written record of earlier, more Giso, appeared as early as the 7th century and
Shintoism; the word kegare is Japanese for ancient Shinto beliefs and practices. Divided was written by Shotoku Taishi, a member of
11
THE'RoOTS OF RELIGION
Above: The Golden Pavilion of Kinkakuji the imperial family who gave much support tion of Buddhism to Japan, when it became
temple. This is an exact replica, built in to the new religion. As is clear from the sto- necessary to differentiate between the two
1955, of the 14th-century original which ries of the Kojiki, Shinto is a cult in which the systems of belief.
was destroyed by fire. spirit of every thing is worshiped, without a
systematic structure or doctrine. Life after "SHINTO WITHTwo FACES"
death is accepted, but early Shinto belief con- Although there was opposition to the spread
tained no moral teaching, or even the concept of Buddhism, by the middle of the 8th cen-
of reward or punishment afterdeath. The term tury the two religions were closely intertwined.
Shinto only came into use after the introduc- Kobo Taishi (774-834) introduced the doctrine
12
THE ROOTS OF RELIGION
of Ryobu, or "Shinto with two faces," which take long study or indulge in abstract
permitted a compromise to be reached. For argument in order to achieve enlightenment.
the next 1000 years Buddhist temples would
contain Shinto shrines, and Shinto deities ZEN DIALOGS
would be regarded as Buddhist guardians. The purpose of Zen is to move beyond the
Buddhist monks conducted the services at realm of the intellect. Zen rejects the use of
Shinto shrines (exceptat Izumo and Ise,where words to explain experience as mere substi-
Amaterasu's shrine still exists). This happy tute for reality. Zen is taught through a series
coexistence came to an end at the beginning of short,ellipticaldialogs(mondo),whichhave
of the Meiji Restoration in 1868. been described as a duel between master and
The Kamakuraperiod (12th-14thcenturies) pupil, another reason perhaps for their appeal
was the heyday of Japanese chivalry, when to the warriors.
the shoguns employed the samurai as their
bodyguards. The samurai, who were not ZEN PHILOSOPHY
aristocratsbut mostly camefromfarmingback- When Joshu was asked about the fundamen-
grounds, were well acquainted with the harsh tal principle of Buddhism, he replied, "The
realities of life. cypress-tree in the courtyard in front of you."
"You are talking of an objective symbol," said
ZEN BUDDHISM the pupil. "No, I am not talking of an objec-
They found in Zen Buddhism - which was tive symbol." "Then," asked the monk again,
introduced to Japan at the same time as Jodo "What is the ultimateprinciple of Buddhism?"
- another route to the heart of Buddhism. The "The cypress-tree in the courtyard in front of
directness of Zen, "the spiritual cult of steel," you," again replied Joshu. Below: "Landscape for Four Seasons, "
held great appeal for the samurai warriors, who Zen stresses above all the oneness of hu- part of a long scroll painting in black ink
had neither the time nor inclination to under- manity and nature, and herein lies the reason by the artist Sesshu, painted in 1486.
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THE ROOTS OF RELIGION
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Above: A section from "Landscape for our why it has become the dominant school of The Ise shrine, the central shrine of Shintoism,
Seasons. " Like Chinese art, Japanese Buddhism in Japan. The myths of the Kojiki is situated in the deep forest beside a river
painting is noted for its meditative qualities. demonstrate that familiarity with, and rever- whose water is crystal clear. The shrine oc-
encetoward,the naturalworldthatare so strong cupies a vast area. The buildings are in the
Right: The Japanese tea ceremony, an in Japanese tradition. Not only is there no shape of a rice-storage house and all are made
ancient and formal tradition of hospitality. antagonism between Zen and the native of bare wood, without paint or ornament, built
Drinking tea is regarded as "an adoration Shinto sensibilities, but the different beliefs on white pebble stones. Clear, straight lines
of the beautiful among the sordid facts of actually enhance one another. After being dominate, with a few curves on the roofs. All
everyday existence." accepted by the numerically dominant the buildings, together with their various con-
samurai class, Zen started to permeate every tents, are rebuilt every 20 years, thus ensur-
single aspect of Japanese life. ing that the necessary skills are transferred
It is impossible to talk about Japanese cul- from generation to generation. This tradition
ture without mentioningZen belief, which still goes back to ancient times. When they are
permeates and heavily influences every area newly built, the bare wood shines gold in the
of creative activity: architecture (tea-houses), quiet, dark forest. The shrine shows us what
poetry (haiku), sports (archery and swords- an architect can express by employing only
manship), painting (brush painting), garden- purely functional lines. The Ise shrine is the
ing (stone gardens), theater (Noh), ceramics prototype of later Japanese architecture: the
and food. Katsuraimperial villa, which was made in the
17th century, has much in common with the
SHINTO ARCHITECTURE Ise shrine.This building, which was designed
Shinto architecture gave concrete form to the by Kobori Enshu, exemplifies the Japanese
concept of purity, as exemplified in the sto- style of simplicity and functionality, and ex-
ries of the Kojiki, and its simplicity and lack presses an intense affinity with natural form
of abstraction also follow the precepts of Zen. and material.
14
THE ROOTS OF RELIGION
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THE ROOTS OF RELIGION
Above: Hot alkaline springs near Kyushu, RELIGION AND ART Japanese history - the Kamakura and
the first part of Japan to be subject to the As in religion, Japanese art was strongly in- Muromachi periods (1185-1568) - gave full
marauding warriors of Kublai Khan in the fluenced by Chinese Buddhism. In both expression to the spirit of Zen. But the man-
13th century. China and Japan, artistsbecame much admired ner and form that it took harked back to the
as creative andinspiredindividuals,rather than period solovinglyrecordedinthe Kojiki:sculp-
regarded as mere artisans. Meditation is cen- tures of angry Buddhist gods remind readers
tral to both Buddhist and Shinto thought, and of the Kojiki hero Yamato-takeru, and the
landscape pictures painted on silk or parch- costumesof Noh plays displayelegantdesigns
ment scrolls, became highly valued as aids to that represent the plants that grow on the
meditation in the early medieval period. mountains and blossom in the fields where
The high points for artistic activity in deities of the Kojiki once lived.
16
CREATION
MYTHS
CREATION MYTHS
THE BIRTH OF JAPAN with a churning sound, and when they lifted
In thebeginning,therewasnothingbut a shape- up the spear again, the dripping brine from
less egg of swirling gases. Slowly, the lighter the tip of the spear piled up and became the
areas rose up to form the heavens, and the island of Onokoro. Descending from the heav-
darker, denser material sank to form the earth. ens, Izanagi and Izanami decided to make their
Three gods created themselves, and hid in home there, and stuck the spear into the ground
heaven. Landmasses floated about on the sur- to form the Heavenly Pillar.
face of the earth until eventually something
appeared drifting between heaven and earth. THE CREATIONOF THELAND
It looked like the first shoot of a new reed and Discovering that their bodies were different-
two gods were born from it, who also hid. ly formed, Izanagi asked his spouse Izanami
Seven more gods were born in this way, the if she was agreeable to giving birth to the land
last two being Izanagi and Izanami. in order to produce more islands. When she
agreed, they devised a marriage rhual: they
IZANAGIANDIZANAMI walked around the Heavenly Pillar in oppo-
Izanagi and Izanami were commanded by the site directions; when they met, Izanami said
heavenly deities "to complete and solidify the "How lovely! I have met a handsome man!"
drifting land" - in other words to form the and then they made love.
Japanese islands. Standing on the "Floating Instead of producing an island, however,
Bridge of Heaven," they wondered whether she gave birth to a deformed leech-child, which
there was anything below them, and so they cast adrift on the sea in a reed boat. They
dipped the heavenly Jeweled Spear into the returned to heaven to consult the gods who
sea below to find out. They stirred the brine told them that their mistake lay in the mar-
riage ritual: Izanami should not have spoken
Left: A large hanging scroll of a wateifall first when they met around the pillar, as it is
by Maruyama Okyo (1733-95). It was not a woman's place to initiate a conversa-
apparently commissioned by an abbot who tion. In order to have children, they repeated
,. .... needed a waterfall to meditate upon. the ritual, but this time, Izanagi spoke first.
18
CREATION MYTHS
19
CREATION MYTHS
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20
CREATION MYTHS
21
CREATION MYTHS
Above: The sacred dance hall of Kasuge live in the heavens or high mountains. as it presents its material in a more detached
shrine at Nara. Here the ritual Kagura way. The Kojiki, on the other hand, invites the)
dances are performed in honor of KOJIKI MYTHS readers to have strong sympathy with the myths,
Amaterasu, the sun goddess. Until the scholar Motoori Norinaga discovered and does not seem to care much about the co:..
the importance of the Kojiki in the 18th cen- herence and logic of the stories it includes.
tury, it was regarded as far inferior to its con- The Kojiki not only became the main source
temporary, the Nihon-shoki, a history book of authority for the Shinto religion, but in many
completed in 720 A.D~, eight years after the senses it also reinforced the power of the em-
presentation of the Kojiki. The Nihon-shoki is peror as well. The myths of the Kojiki reveal
in many ways more accessible than the Kojiki a three-layered cosmos. Firstly, the creation
22
CREATION MYTHS
of Japan by Izanagi and Izanami, with the forces of Buddhism spread from China and Asia in
of life and fertility, followed by pollution and the 6th century and became the dominant
purification. Secondly, the supremacy of the belief among the aristocracy, the Kojiki was
glorious sun goddess Amaterasu, from whom important in recording Japanese life before
the imperial line is descended. And thirdly, the foreign influences took too great a hold. The
rituals and chanting necessary to invoke the book portrayed an image of life filled with a
kami, or spirits. strong sense ofthe unity of humanity with na-
When the Kojiki was written, the influence ture and god, and the unity between people Below: The Imperial Palace, Tokyo, the
of China was starting to be apparent every- through simple rituals. It also aimed to bring home of the emperors of Japan, and one
where. The legal system, the arts, and litera- about clear national self-consciousness by of the few old buildings still standing
ture were strongly affected. As the influence using a lucid image of the past to overcome in the city.
23
CREATION MYTHS
,
24
CREATION MYTHS
rather than of horror or punishment. By eat- on either side of the bolder. Izanami then said:
ing from the hearth ofYomi, Izanami was for- "0 my beloved husband, if you do thus, I will
bidden to return to the land of the living. The each day strangle to death 1000 of the popu-
scholar Norinaga considered that this was be- lace of your country." To this Izanagi replied:
cause food cooked with the fire of Yomi be- "0 my beloved spouse, if you do this, I will
came impure. A simpler interpretation is that each day build 1500 parturition huts," mean-
Izanami, having eaten the food of Yomi, had ing that this number of people would be born.
become a person of Yomi. The idea that one She told him that he must accept her death,
cannot return home after having eaten the food and Izanagi promised not to visit her again.
of the afterlife - or even of a foreign land - Then, they formally declared their marriage
is a common one throughout the world. at an end.
In the final passage of the relationship
between Izanami and Izanagi, the concept of THE CHILDREN OF IZANAMI AND IZANUGI
mortality for humankind is introduced. The Thus the marriage of Izanami and Izanagi
use of peaches as a weaponis a sign of Chinese brought the natural world into existence, and
influence on the Kojiki. In China,peaches and their separation, or "divorce," is the begin-
peach trees have from antiquity been used to ning of mortality. On his return to the land of
dispel demons and evil spirits. The peach is the living, Izanagi rid himself of the sullying
furthermore oftenused as asymbol oflongevi- effects of his descent into the underworld by
ty (see below). undergoing purification.
25
CREATION MYTHS
Above: The annual Jidai festival in Kyoto. RELIGIOUSSYMBOLISM his heavy garments and immersing himself in
Participants dress in costumes representing Izanagi's act of cleansing (misogi) shows how the waters. Water is a potent symbol in many
styles from the 8th to the 19th centuries, vital force can be recovered by purification. scenes of everyday life in Japan today. For
celebrating the citys time as Japan's In the same way that rice-growing follows a example, as soon as you take a seat in a sushi
capital. cycle in which both the land and the people restaurant in Tokyo, the table will be wiped
become exhausted, and are then revitalized with a white cloth soaked in water. This has
by water or a period of rest, so Izanagi re- little to do with hygiene, rather it is an act of
gains his strength and vitality by taking off purification before rice is eaten.
26
CREATION MYTHS
SUSANU'STRICKERY
Susanu asked for Amaterasu's five necklaces,
which he chewed up to produce five gods. An
instant custody battle ensued, as Amaterasu
claimed them as her children since they were
created from her jewelry. Her brother, how-
ever, thought he had tricked the sun goddess,
and he celebrated by breaking down the walls
of the rice fields, blocking irrigation channels,
.
and then defecating in the temple where the
27
CREATION MYTHS
harvest festival was to be held. His appalling of the cave, blocking it to prevent her return.
behavior laid the seeds of their enmity. Nature was restored to life and since then the
world has experienced the normal cycle of day
THE DISAPPEARANCE OF THE SUN and night. The mirror was entrusted to the
One day, while Amaterasu was weaving clothes mythical first emperor of Japan as proof of
for the gods, Susano threw a flayed horse his divine power
through the roof of the weaving hall, terrify- The 800 gods punished Susano by fining
ing one of her attendants so much that she him, cutting off his beard and moustache, tear-
pricked her finger and died. Amaterasu her- ing out his fingernails and toenails, and
self was so scared that she hid in acave, block- expelling him from heaven.
ing the entrance with a huge bolder. Without
the sun goddess, the world was plunged into LAND OF THE RISING SUN
darkness and chaos. Japan was said to have been created by the
The paddy fields lay fallow, the gods mis- will of the sun goddess Amaterasu, and the
behaved, and an assembly of 800 deities met stark emblem of the Japanese flag shows the
to discuss how to lure Amaterasu out of the people's evident pride in these origins. The
cave. They followed a plan introduced by shrine of Amaterasu at Ise is still venerated,
Omobikane, the "thought-combining deity," and every New Year thousands gather on the
who suggested that they should make her shore to watch the sun rise over the moun-
curious about life outside her dark cave. They tains. The tale of Amaterasu's return to the
decorated a tree with offerings and jewels, lit world is celebrated at a sacred cave, where a
fires and drummed and danced, taunting her small round mirror symbolizes the alluring
with the beauty of another goddess. They put bronze reflection of the ancient legend. The
a magical mirror outside the cave, collected mirror is a sun symbol throughout Asia.
roosters to crow outside it, and persuaded the
goddessof the dawn,Amo No Uzume,to dance THE IMPERIAL LINE
on it. Completely carried away, she started to Amaterasu is supposed to be the direct an-
take off her clothes, much to the amusement cestor ofthe Japanese imperial family and a
of the other gods, who called her the "terri- mirror, the Yata Kagami, forms part of the
ble female of heaven" imperial regalia. Pictures of her emergence
As they had hoped, Amaterasu peered out from the cave showher holding a sword which
to see what was going on. The gods replied she passed on to her grandson Prince Ninigi,
that they were celebrating as they had found which is another sacred part of the royal re-
her successor,an even better goddess thanshe. galia. Amaterasu occupies a key position
Emerging from the cave, Amaterasu saw her among the huge number of Shinto gods, and
reflection in the magic mirror and the "hand- the obedience that was due to the emperor is
strength male deity" Tajikawa pulled her out echoed in the veneration of the sun goddess.
Right: A woodcut print by the 18th century was one of the earliest Japanese artists to
artist, Hokusai of Tago-no-ura, in the series absorb European influences, daringly de-
Thirty-six views of Mount Fuji. Hokusai picting everyday life as well as landscapes.
28
CREATION MYTHS
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29
CREATION MYTHS
Above: A play peiformed at the Sansen-in Amaterasu's shrine at Ise is the most im- abundant offerings on his behalf."
temple at Ohara, a mountainous region portant in Japan, and worshipers at the har-
dotted with small villages. It depicts vest festival, who pray to the "Great Heaven MOUNTAINDEITIES
ancient gods and heroes. Shining Deity," incorporate blessings for the Japan is a mountainous country with over 60
imperial family with their thanks for a fruit- active volcanoes, and is prone to earthquakes.
ful harvest. In Tokyo it is not unusual to feel shocks every
"As you have blessedthe ruler's reign, mak- three days or so. It is not surprising, there-
Far right:A paper screen by the artist ing it long and enduring, so I bow down my fore, that the Japanese revere mountain gods,
Ogata Korin (1658-1716), decorated with neck as a cormorant in search of fish to wor- and almost every mountain has its own deity
pink and white plum blossoms. ship you and give you praise through these worshiped by the local people.
30
CREATION MYTHS
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One of the most ancient mountain gods, 0-
Yama-Tsu-Mi, was born when Izanagi cut the
fire god into four pieces at the time of Izanami' s
death. The most important is Sengen-Sama,
the goddess of Mount Fuji, the highest moun-
tain in Japan. Her shrine attracts many
pilgrims who climb to the top of Mount Fuji
at dawn to worship the rising sun and glimpse
Sengen-Sama, who holds a magical jewel in
her right hand and a branch of the sacred
sakaki tree in her left.
CONCLUSION
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GODS AND GODDESSES
Izanagi First god of earth who created the world. Father of Amaterasu,
Tsuki-yomi, and Susano
Kagu-Zuchi The fire god, also known as Ho-Masubi (or causer of fire).
The last child ofIzanagi and Izanami, his birth killed his moth-
er. It was important to propitiate Ho-masubi during the Japanese
windy season when wooden houses and buildings were prone
to be destroyed by fire.
Susano Wicked storm god and brother of Tsuko- Yomi and Amaterasu
Kusa-nada-hime The "Rice Paddy Princess" and wife of the evil Susano
Ame-no-Oshido- Mimi Son of Amaterasu, who she sent to control the earth, but he
refused to go because it was too full of disturbances
Above: A fierce porcelain figurine of a four- Inari Rice god and god of prosperity
legged, cloven-hooved thunder god. This
may be part of a household shrine.
36
GODS AND GODDESSES
THE AFTERLIFE
The afterlife was a mysterious shadowy exis-
tence, with no hint of punishment for earthly
sins. Buddhist beliefs changed this, and later
Shinto legends acquired more hellish overtones.
37
'GODS AND GODDESSES
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38
GODS AND GODDESSES
39
GODS AND GODDESSES .
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the temple on a portable shrine, the mikoshi, larly pines and cryptomerias. Part human and
and paraded through the streets. The proces- part bird, they are sometimes shown wearing
sion allows the kami to protect and bless the cloaks of feathers or leaves, and often sport
community which worships it. a small, black hat. Tengu love to play tricks,
although this stems more from a sense of mis-
THE FESTIVALOF RYUJlN chief than evil. Often, however, they fail to
One of the most popular Japanese festivals is appreciate it when the joke is on them! A boy
that of the dragon god Ryujin, god of the ocean. taunted a tengu by claiming he was able to
His festival takes places every June, and he is see into heaven by using a hollow piece of
worshiped particularly by farmers, especially bamboo as a telescope. The tengu was over-
in time of drought. Many Pacific cultures re- come with curiosity, and agreed to swap his
vere a god of the ocean, and the mythology of cloak of invisibility for the stick of bamboo.
Ryujin is typical. When he foundhe had been deceived,the tengu
Ryujin lives in a magnificent coral palace took his revenge by causing the boy to fall
beneath the sea near the islands ofRyu Kyu.It into an icy river.
is guarded by water dragons and he is served
by the fishes of the sea. Controler of the thun- ON!
der and rain, he is the most powerful of the Oni are supposed to have come to Japan from
Raijin, or weather gods. In his kingdom, a sin- China along with the Buddhist faith. They are
gle day is equivalent to 100 human years, and fierce, horned devils, often of giant size. They
on each side of the palace lie the halls of the are basically human in appearance, but have
seasons, both of nature, and of mortal life. The three fingers and toes, horns, and tails.
Palace of the Spring in the east has cherry trees Sometimes they also have three eyes. Whereas
full of butterflies, and the nightingale can be tengu are playful, oni are usually cruel, ,J
heard singing sweetly. In the south, the Palace generally not very bright and often lecherous.
of Summer is filled with lush vegetation and They appear in many Japanese folk tales.
the sound of insects. In the Palace of Fall, the
trees are beautiful shades of red and gold, and THE TALE OF MOMOTARO
in the north, the Palace of Winter is a hall of Momotaro, revered for his nobility of spirit (1,
eternal frost and snow, from which, however, and accomplishments in battle, was born into
there is no return. a peach. A childless couple found the peach
floating in a mountain stream, and on cutting
MINOR DEITIES it open, discovered a tiny baby boy. They
The legendary figures known as tengu are named him Momotaro, which means "peach
among the most ancient mythological crea- child," and brought him up as their own son.
tures in Japanese belief. It is believed that they When he was 15, Momotaro decided to
inhabit trees in mountainous areas, particu- repay his adopted parents and their neighbors
40
I)
GODS AND GODDESSES
for their generosity. A number of oni lived on a number of girls being held captive after being
an island nearby and were making raids on kidnapped and raped. With the help of his com-
the mainland to steal treasure and terrorize panions, Momotaro launched an attack on the
the population. Taking three rice cakes from oni stronghold, and killed all the supernatur-
his mother, Momotaro set off on his mission. al beings. The boat was then piled high with
Below: The faithful at prayer before an On his way he met a dog, a pheasant, and a stolen treasure and the prisoners released.
incense-burning altar at a Buddhist temple. monkey who each agreed to accompany him Momotaro returned home in triumph, and was
Note the age of these people - Japan is in return for a rice cake. The band of four took able to ensure that his parents lived out their
becoming an increasingly secular society. a boat to the island of the oni, where they found lives in comfort.
T
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42
GODS AND GODDESSES
ISSUN BOSHI
Another diminutive hero is Issun Boshi, whose
name means "Little One Inch." After many
years of marriage, Issun Boshi's parents had
not managed to conceive, so they prayed to
the gods for a child, even one just as long as
the end of a finger. The gods took them at
their word, and Issun Boshi was born.
At the age of 15 (a significant birthday for
tiny heroes, it seems) Issun Boshi set off for
a trip to Kyoto, the capital. He took with him
his parents' gifts of a rice bowl, a pair of
chopsticks and a needle stuck in a sheath of
bamboo. He traveled by river, using the bowl
as a boat, and a chopstick as a punt.
On arriving in the city, Issun Boshi found
himself employment in the service of a noble
family. He worked hard for a number of years
and entered the affections of his employers.
One day Issun Boshi accompanied the daugh-
ter of the house to the temple. On their way
two giant oni leapt out in ambush. Issun Boshi
tried to draw attention to himself, thus enabling martial attributes he had already shown him- Above: The classical Japanese Noh drama
the girl to escape. When one of the oni swal- self to possess. On the couple's return, the fa- began in the Heian period (8th-12th cen-
lowed him, Issun Boshi drew his needle from ther happily gave his permission for them to turies), was highly developed by the 14th
its scabbard and began to stab the oni's stom- wed. Issun Boshi proved himself to be a de- century Ashikaga period, and is still very
ach. He then clambered his way up the giant's voted husband and brought his aged parents popular today. Noh ("masked theater") is a
gullet, stabbing with his weapon all the time. to Kyoto to share in his good fortune. very stylizedform of theater, with the main
When he reached the mouth, the oni spat him actors often wearing carved wooden masks.
out as fast as he could. The other oni lunged KAPPAS 1t developed from ceremonial religious
for Issun Boshi, but he jumped into its eye According to some sources, the kappa is a dances, which were combined with
where he frantically continued to wield his creature descended from the monkey mes- monologs and dialogs.
miniature sword. senger of the river god. Resembling a mon-
key, but with fish scales or. a tortoise shell
THE LUCKY MALLET instead offur, the child-sized kappas are yel-
As the hapless devils retreated, one of them low or green in color. They inhabit rivers,
dropped a mallet. Recognizing this as a lucky ponds and lakes and have a hollow in the top
instrument, Issun Boshi and the girl struck it of their heads in which sacred water is car-
on the ground and made a wish. Immediately, ried. If this water is spilled, the kappa is de-
Issun Boshi grew to normal size and was mag- prived of his magical powers.
ically clothed in the armor of a samurai, whose Like vampires, kappa feed on human
43
GODS AND GODDESSES
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BUDDHIST GODS
Buddhism coexists happily next to Shinto
belief, and although about three-quarters of
Japanese people are Buddhists, many also re-
vere the Shinto spirits. The 15th century
philosopher Yoshida Kanetomo stated that
Shinto was the original trace and that the
Buddhas are the fruit of its teaching. Above: Yakushi-nyorai, "Lord of the were blackened by fire in 1528. It was dur-
All Buddhists venerate Gautama Buddha Eastern Paradise, " shown hereflanked by ing the Heian period (794-1185) that
in their attempts to achieve Nirvana, but they two attendants in the Yakushiji temple in Buddhist statues, which were normally
also worship the various bodhisattvas who, in Nara. The statues were formerly gilt, but made of wood, became formalized in Japan.
44
GODS AND GODDESSES
45
GODS AND GODDESSES
46
GODS AND GODDESSES
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GODS AND GODDESSES
spring that followed their death, he observed Left: A netsuke rat, one of the 12 animals of
each day two butterflies in the garden. One the zodiac, another of the many
night he dreamed that his mother and father examples of Japan's cultural borrowings
were wandering round their beloved garden, from China. Netsuke are exquisitely carved
inspecting the plants they knew so well to see ornaments, originally used as fasteners
how they were faring in the boy's care. or brooches.
Suddenly, the old couple turned into a pair of
butterflies, but continued their round of the Below: In front of the main building of the
garden, alighting on each flower in turn. The temple, and marking off the area of the
next day the pair of butterflies were still in gods, hangs the shrine nawa, similar to a
the garden, and the boy knew that they large ropeplait, made from rope that has
contained the souls of his parents, who still been ritually purified.
derived pleasure from their life's work.
48
GREAT LE(;ENDS
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GREAT LEGENDS
Previous page: Cherry blossom is one of Right: Mount Fuji is the sacred mountain of
the emblems of Japan, and features in many Japan. According to legend it was created
legends as a symbol of spring. by an earthquake in 286 B.c.
50
GREAT LEGENDS
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GREAT LEGENDS
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Above: The warm climate of the island of deities.Ninigi arrived on earth on top of Mount Prince Ninigi chose Ko-No-Hana, the god-
Hinoshina near Hiroshima is perfect for Takachihiat at the point where eight earthly dess of flowers and of the sacred Mount Fuji,
agriculture. Many of the great Japanese roads lead away in every direction, and was as his wife. Guardian of the elixir of eternal
legends are about efforts to control the confronted by the mighty god who controls life, her father is Oho- Yama, the mountain god,
forces of nature through the gods. all pathways. Amo-No-Uzume intervened on who tried in vain to persuade Ninigi to marry
her brother's behalf, and Ninigi was shown Iha-Naga, his elder daughter instead. Ninigi
all the kingdoms of the earth. In gratitude, and Ko-No-Hana lived together happily for
Ninigi allowed his sister to marry this god. several years and produced three sons, but
52
GREAT LEGENDS
Ninigi's jealousy eventually ruined their Opo-usu made them his wives and sent
relationship, and his wife committed suicide. others in their place. When the emperor learned
Their sons, however, went on to found the of his son's betrayal, he ordered Wo-usu to
Japanese royal line, from whom the present- persuade his elder brother to come to dine with
day emperor is descended. his father. Five days passed, but there was still
no sign of Opo-usu. When the emperor asked
FRATRICIDEWITHOUT REMORSE Wo-usu why his brother had not come to court,
This tale is taken from the second book of the Wo-usu explained simply, "I captured him,
Kojiki, the 8th-century collection of the leg- grasped him, and crushed him, then pulled off Below: A bout of Sumo wrestling may only
ends of Shinto. his limbs, and wrapping them in a straw mat, last for a few seconds. The contest ends
Among the many children of Emperor Keiko 1 threw them away." when any part of the combatants' anatomy
were the brothers Opo-usu and Wo-usu, the apartfrom theirfeet touches thefloor. The
second of whom was later named Yamato- FORCE AND MORALITY reverencefelt for Sumo wrestlers can be
takeru. One day the emperor sent Opo-usu to This example of brute strength without any linked to the admiration felt for the
summon two maidens who were renowned for regard to morality explains why Yamato-takeru mythicalfigure of Yamato-takeru, master
their beauty. But instead of summoning them, is seen as an embodiment of natural force, that of gods and men.
It
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53
GREAT LEGENDS
SUMO WRESTLING
Wrestlers are often very quiet people, and are
expected to live simply. We can see in Sumo
the same sort of admiration as that shown for
the boy-hero Yamato-takeru. There are many
elements of Shinto ritual in Sumo. Wrestlers
throw salt before each bout to purify the ring.
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They use water put beside the ring to clean
their mouths, symbolizing the purification of
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their bodies. The ring is made of packed soil
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, .. in which various symbolic items are placed
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dedicated to the gods.
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YAMATO-TAKERU'S TRAVELS
54
GREAT LEGENDS
55
GREAT LEGENDS
Above: Prints by Utamoro (1754-1806) of Yamato-pime gave him a sword and a bag,
young women visiting the seashore at Ise, and said "Should there be an emergency, open
the site of the shrine of the sun goddess. At this bag."
New Year the sun rises between the twin After conquering his father's enemies,
rocks,joined by a straw rope which marks Yamato-takeru met a man in the land of
the boundary of the territory of the gods. Sagamu who deceived him, saying that anun-
ruly deity resided in the middle of the plain.
Right: A sliding-door painting from When Yamato-takeruenteredthe plain,the man
Chisyaku-in temple in Kyoto, showing the set fire to the area, but Yamato-takeruescaped
traditional contemplative qualities so using his aunt's bag and sword. He mowed
popular in Japanese art and central to the grass with his sword, then lit another fire
both Buddhist and Shinto beliefs. with a flint which he found in his aunt's bag.
Then he killed the man and all his clan, burn-
ing the bodies.
One of the imperial treasures of Japan is a
sword. A sword is one of the symbols of the
figurehead of Shintoism, because it symbol-
iseslightning:thunderis regardedas promoting
good harvests, since the amount of thunder,
and consequently rain, has most to do with
the growth of rice. The idea of the gift of fire
is so widespread that it would seemto be prac-
tically a part of the "collective unconscious"
56
GREAT LEGENDS
57
~
GREAT LEGENDS
Above: The puppets used in Bunraku or racial memory. It appears in the legends of a storm, and the boat began to drift helpless-
theater are manipulated by three people, many cultures - consider the Greek ly. His wife, Oto-tatiban-pime, offered to
clearly visible behind a narrow stage. Prometheus myth, for example. sacrifice herself to the sea god in his place,
and stepped out on to the flimsy layers of sedge-
THE DOWNFALL OF YAMATO-TAKERU mats, skins, and silk carpets spread out on the
As Yamato-takeru crossed the sea, the deity boiling waves. As she went down on to them,
of the crossing stirred up the waves, creating she sang:
58
GREAT LEGENDS
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59
GREAT LEGENDS
60
GREAT LEGENDS
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feeling of people everywhere who have lost We move forward with difficulty Above: Like so many aspects of Japanese
the man they loved. Like plants growing culture, tea was introducedfrom China. Zen
By a large river Buddhists believed that tea was an aid to
Excluded from the Divine We drift aimlessly meditation, and during the Ashikaga period
Transformed into a giant white bird, In the ocean currents. tea-drinking developed into a highly styl-
Yamato-takeruflew away toward the beach ized ritual, often taking place in a building
followed by his family: Again when the bird had flown to the rocky specially constructedfor the purpose.
shores, they sang:
Moving with difficulty, up to our waists
In the field of low bamboo stalks, The plover of the beach
We cannot go through the skies Does not go by the beaches
but, alas, must go by foot. But follows along the rocky shores
As they waded into the sea, they sang: These concluding songs to the story of
Yamato-takeru express the destiny of earth-
Going by sea, waist-deep in the water bound humans. The exclusion of man from
61
GREAT LEGENDS
62
0, the lord of the dead, is largely a Buddhist
creation, and derives from the Hindu Vedic
god of death, Yama. The Japanese still cele-
brate Bommsatsuri, the Festival of the Dead,
every July, when lanterns are lit to guide the
dead on theirjourney to another life. Restless
souls who wander the earth areknown as Shito
Dama, and can sometimes be seen by the
human eye as glowing spheres.
A MULTIROOTED MYTHOLOGY
64
OT~'R BOOKS IN THE SERIES
Gods ar\d Pharaohs of Ancient Egypt
The Pyramids
Ancient EgyptianCulture
Viking Gods
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QUMJG&M
PRINTED k1'\1SINGAPORE
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Compelling introduction to
Japanese mythology
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Beautifully illustrated with many
Oriental artefacts 8..
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