Japanese mythology

(日本神話 )
OVERVIEW [ 概要]
Japanese mythology is a collection of
legendary stories and traditional folktales that
have been passed down since ancient times in
Japan. The oldest Japanese mythology can be
古
found in historical documents such as Kojiki (
事記 ) and Nihon-shoki ( 日本書記 ) which were
written in the early 8th century.
OVERVIEW [ 概要]
Japanese mythology was created based on the
worship of nature, which is the key to
understanding the principle of Shintoism.
Shintoism is a Japanese indigenous religion
which is said to date back to prehistoric times.
In Shintoism, deities are believed to be present
in everything from living creatures to natural
phenomena.
OVERVIEW [ 概要]
More specifically, nature such as the sun,
mountains, rivers, and oceans are all regarded
as deities. This is the reason why deities that
are involved in Japanese mythology are often
worshiped at Shinto shrines across Japan. We
can also find the elements of traditional
Buddhist beliefs that have had an influence on
the creation of Japanese mythology.
OVERVIEW [ 概要]
Japanese mythology is a collection of
traditional stories, beliefs, and folktales that
originated from the islands of the Japanese
archipelago.
Shinto and Buddhist traditions are the
foundation of Japanese mythology, and the
myths of Korea, Ainu, and Okinawa also play a
significant role.
OVERVIEW [ 概要 ]
Japanese myths are closely tied to the
natural features of the archipelago and its
agricultural folk religion.
The Shinto pantheon is home to
numerous kami, or gods and spirits. We’ll
cover those, as well as fascinating artifacts,
mythical creatures, and more.
OVERVIEW [ 概要]
The Kojiki and the Nihon Shoki are two
important sources of Japanese mythology as it
is understood today. The Kojiki, or “Record of
Ancient Matters,” is the oldest surviving record
of Japan’s myths, legends, and history.
The Shintōshū, on the other hand, provides
a Buddhist perspective on the origins of
Japanese deities.
OVERVIEW [ 概要]
A notable aspect of Japanese
mythology, unique from many other
mythologies, is its explanation of the
origin of the Imperial Family, which
has been used to declare the
imperial line as divine.
 JAPANESE MYTHOLOGY
PANTHEON ( MAJOR DIETIES)
 IZANAGI
(father of the Japanese pantheon)

Izanagi is one of the divine

creators who, together with his wife
Izanami, created the islands of Japan.
He is the father of countless kami and
the bureaucracy of the heavens, over
which his daughter, the sun goddess
Amaterasu, presides.
 IZANAGI
(father of the Japanese pantheon)

Izanagi is considered the father of the

Japanese pantheon and is sometimes portrayed as
a creator deity. Though the latter is not entirely
accurate, it is true he is the father of many kami.
Izanagi also defends against the forces of Yomi,
and ensures there are more births than deaths
each day in order to preserve his creation. He
often wields Ame-no-nuboko, the heavenly jeweled
spear with which he churned the primordial seas.
 IZANAGI
(father of the Japanese pantheon)

He is the father of many Shinto

rituals as well, including marriage and
禊
misogi ( ). The latter ritual is central to
Shinto beliefs and uses water to wash
away impurities, such as the death and
rot Izanagi encountered while in the
underworld.
 IZANAGI
(father of the Japanese pantheon)

As father to the chief gods of Heaven,

Izanagi was the original ruler of Heaven
and trained his daughter Amaterasu to
take the throne. While he still maintains
some authority, Izanagi has bequeathed
most of his power to Amaterasu, who now
serves as the true ruler of Heaven.
 IZANAMI
(creatIon goddess wIth the power to create
land, trees, Islands, and other gods )

One of the two creator

deities in the Shinto religion,
responsible for giving birth to
the islands of Japan and
various other deities.
 Amaterasu
( goddess of the sun )
Amaterasu is the great and glorious goddess
of the sun. An embodiment of the rising sun and
Japan itself, she is the queen of the kami and ruler
of the universe. The Japanese Imperial Family
claims to have descended from her, and this is
what gives them the divine right to rule Japan.

She is the center of Shinto, and Japanese

spiritual life.
Attributes
Amaterasu is the Queen of Heaven,
the kami, and creation itself. Though she
did not create the universe, she is the
goddess of creation, a role she inherited
from her father, Izanagi, who now
defends the world from the land of the
dead.
Goddess of the Rising Sun
Amaterasu’s primary role is that of the sun
goddess. In this position, she not only serves as the
literal rising sun that illuminates all things, but also
provides nourishment to all living creatures and
marks the orderly movement of day into night.
The sun represents order and purity, two of
Shinto’s most important concepts. All things in
creation are ordered, from Amaterasu down to the
denizens of Jigoku and other hells. This order is
reflected in Japanese society as well.
Amaterasu is one of the three kami born from
Izanagi’s purification following his attempt to
free his wife from the land of the dead. The
three deities were born as he washed himself:
Amaterasu from his left eye, her brother-
husband Tsukuyomi from his right eye, and
storm god Susanoo from his nose. Though
these are her primary siblings, Amaterasu has
many other brother and sisters born of Izanagi
and Izanami’s marriage rituals.
 Ame-no-Uzume
( goddess of dawn )
Ame-no-Uzume is the Shinto goddess of dawn,
a master of merry-making, humor, and dancing. A
highly positive kami (a type of god or spirit in the
Shinto religion), her ingenuity brought Amaterasu,
the sun goddess, back into the world, saving the
earth from eternal winter’s night.

A popular deity, Ame-no-Uzume is credited with

the origination of the performing arts.
 Ame-no-Uzume
( goddess of dawn )
Traditional stories describe Ame-no-Uzume as
wearing loose or revealing clothing, which other
kami in these stories find comical, but Ame-no-
Uzume is joyful and unconcerned. Unlike the very
reserved and proper Amaterasu, Ame-no-Uzume is
open, easygoing, and dedicated to bringing joy to
the world. Her nature makes her a great diplomat,
and she acts as one of Amaterasu’s most trusted
servants.
 Ame-no-Uzume
( goddess of dawn )
Mirrors, a sacred symbol of the
Imperial family, are often connected
to Ame-no-Uzume because of the
way the ocean on Japan’s eastern
coast reflects the dawn sun like a
mirror.
 Ame-no-Uzume
( goddess of dawn )
Ame-no-Uzume is credited with the creation
of many Japanese art forms, such as kagura, a
kind of dance telling the stories of kami, and
some forms of comedy and theater such as the
ancient noh. Ame-no-Uzume is often depicted in
kyogen, a comedic theater tradition, and here she
is often displayed semi-nude to comic effect.
Because of these theatrical connections, Ame-
no-Uzume is the goddess of revelry.
 Ame-no-Uzume
( goddess of dawn )
In relation to her husband, she is also
considered an inari kami, or a goddess
connected to kitsune, Japanese fox spirits
known for their cunning and wiles.

Ame-no-Uzume’s husband is Sarutahiko

Okami, leader of the earthly kami. Their
children created the theater forms of kagura
and noh.
 BenzaIten
( goddess of love and luck )
Benzaiten is the goddess of love and luck, a
figure of much popularity and meaning across
Japan.
A manifestation of the Indian goddess Sarasvati,
Benzaiten has adapted across landscapes,
locations, and time periods, becoming a chief
symbol of the way Japanese culture has combined
elements from various religious traditions. She is
one of the Seven Lucky Gods.
 BenzaIten
( goddess of love and luck )
Benzaiten is both a Buddhist goddess and a Shinto
kami (a type of god or spirit), sometimes at the same
time depending on the context.
She is a form of the Indian goddess Sarasvati,
and the spread of Buddhism brought her across the
Himalayas into China, where she took on different
properties before arriving in Japan. The Benzaiten
known in Japan is therefore a mixture of different
beliefs, an important figure for many diverse peoples.
 BenzaIten
( goddess of love and luck )
Most commonly, Benzaiten is associated with
luck and wisdom, dispensing wise words and
fortune to those she blesses. She is a joyous
figure and is rarely pictured without her biwa, a
type of stringed Japanese instrument. She is muse
to artists of all varieties, and her blessings are
sought by farmers hoping for a bountiful harvest,
merchants hoping for good yields, and women
hoping for success in love.
 BenzaIten
( goddess of love and luck )
During the Edo period (1603-1868),
Benzaiten was especially popular with
jealous women hoping to gain favor over
their rivals. She is a goddess of all that
flows: wisdom, music, water, love,
knowledge, wealth, and the march of time
itself.
 BenzaIten
( goddess of love and luck )
Benzaiten commonly appears as a woman
dressed either as a courtesan or nun, carrying her
biwa and sometimes cloaked in various Buddhist
halos and other holy symbols, both physical and
spiritual. Beyond that, depictions are varied
depending on the time period. Much like Sarasvati,
she is associated with both dragons and snakes.
Unique to Benzaiten, she is also associated with
the appearance of comets in the sky.
 BIshamonten
( god of war )
Bishamonten is a Japanese god of war
and a Buddhist protector of shrines and
holy places. One of the Seven Lucky Gods,
he protects the great treasure pagoda of
Buddhist offerings and gives these out to
faithful believers. He is a Japanese form
of the Indian god Vaisravana
 BIshamonten
( god of war )
Bishamonten is a warrior, an armored war god
wielding a spear in one hand and a pagoda in the
other. This armor is not typical for Japanese warriors,
indicating his continental origins. His facial
expressions, which vary depending on the artist, are
sometimes excited and other times stern and
discerning.
He is unique among the Seven Lucky Gods: he is
the only warrior, and the only one who engages in
violence.
 DaIkokuten
(god of luck and fortune-seekIng )
Daikokuten is one of the Seven Lucky Gods in
Japanese mythology who bring prosperity and
fortune to people throughout Japan. As the god of
luck and fortune-seeking, he is an important
household deity also known as the god of five
cereals.
Those bold enough to make their own fortunes
receive Daikokuten’s blessings. He is a localized
form of the Indian god Mahakala.
 DaIkokuten
(god of luck and fortune-seekIng )
Daikokuten is a highly revered god, a
household deity whose images people
often keep in their homes. He brings
prosperity and invites fortune, and he is
revered especially in the kitchen for his
blessing of the five cereals, including
wheat and rice.
 DaIkokuten
(god of luck and fortune-seekIng )
One tradition, called fukunusubi, holds that
Daikokuten favors those who steal household
shrines dedicated to him. If they are not caught
in the act, they are said to be blessed.
Daikokuten favors the bold, the fortune-seekers
willing to take risks. In this way, Daikokuten, as
“She of the Great Blackness,” is also the god of
thieves, whose luck keeps them from getting
caught.
 DaIkokuten
(god of luck and fortune-seekIng )
One tradition, called fukunusubi, holds that
Daikokuten favors those who steal household
shrines dedicated to him. If they are not caught
in the act, they are said to be blessed.
Daikokuten favors the bold, the fortune-seekers
willing to take risks. In this way, Daikokuten, as
“She of the Great Blackness,” is also the god of
thieves, whose luck keeps them from getting
caught.
 EBISU
(god of luck, wealth, and prosperIty )
Ebisu is a Japanese god of luck, wealth, and
prosperity, particularly where the sea is concerned;
he is also the patron god of fishermen. Perpetually
smiling and often dressed as a fisherman, Ebisu is
one of the Seven Lucky Gods, and is in fact the
only one original to Japan. His image has seen
widespread use throughout Japan due to his close
association with both the wealth of the sea and
business prosperity.
 EBISU
(god of luck, wealth, and prosperIty )
Often depicted as a rotund fisherman with a large
hat, Ebisu is associated with the abundance of the
sea and the luck it takes to bring said abundance
home. He is always smiling and laughing, and
carries a fishing rod and a large fish—usually either
a red sea beam or red bass—with him most of the
time. As the patron of sailors and those who live
off the bounty of the sea, Ebisu is represented in
animal form by whales, jellyfish, and whale sharks.
 EBISU
(god of luck, wealth, and prosperIty )

Ebisu is also deaf and partially

unable to walk due to his lack of
bones as a child. Despite his
crippled nature (or perhaps because
of it), he still manages to be a kindly
god who shares his wealth freely.
 FujIN
( gOD OF WIND )
Fujin is the Japanese wind god, a powerful
elemental deity whose bag of air moves all
the winds of the world. Appearing alongside
his brother Raijin, the thunder god.
Fujin is neither good nor evil, although he
is often a destructive force. He is one of
Japan’s most well-known oni (demons, devils,
or trolls in Japanese folklore).
 FujIN
( gOD OF WIND )
As god of the wind, Fujin is always on the move
and seemingly ever-present, but he is said to be
primarily visible during storms, particularly powerful
typhoons, where the winds can fell trees and
destroy houses. Although Fujin is seen mostly as a
destructive force, he can also be associated with
less intense winds that are gentle and refreshing.
Therefore, compared to his brother Raijin, Fujin is
somewhat less intense and more lackadaisical.
 Fukurokuju
(god of wealth and longevIty
representIng the Southern Polestar)
Fukurokuju is linked to the Southern Polestar
and the Southern Cross, which is only
occasionally visible in the Japanese sky. He brings
long life, prosperity, and—most importantly—
happiness to his believers. His constant
companions are a crane and a tortoise, who
represent prosperity and long life respectively,
but he is also occasionally followed by a black
deer.
 Fukurokuju
(god of wealth and longevIty
representIng the Southern Polestar)
In Japan, deer turn black if they are
older than two thousand years old, and
thus this deer represents longevity.
Unlike other members of the Seven Lucky
Gods, Fukurokuju has the ability to tell
when someone is going to die and can
bring the dead back to life.
 HoderI
(Jealous Japanese god of the sea)

Hoderi is the kami (a type of Shinto god or

spirit) of the sea and fishermen. Although
he once had power over all the fish in the
sea through his magic fish hook, a popular
legend recounts how Hoderi’s cruelty and
his jealousy of his brother Hoori, a master
hunter, proved to be Hoderi’s undoing
 HoderI
(Jealous Japanese god of the sea)
Hoderi was first and foremost a master fisher,
unmatched because of his magic fish hook, which his
own jealousy caused him to lose. Before that, he could
catch any fish while he was at sea, but this gift left him
at the mercy of the elements. This flaw to his magic
hook, a gift from his father, left Hoderi quite jealous of
his kind younger brother Hoori, who could hunt in any
weather. Hoderi’s terrible jealousy manifested in cruelty
toward his brother, which came back to haunt Hoderi
and his descendants.
 HoteI
(a benevolent Japanese god and symbol of
luck.)
A wanderer in life and death, Hotei is always
dressed simply and carries his namesake linen sack,
a magical bag full of treasures he hands out
readily, giving fortune and blessings to his
worshipers and others he meets. He is favored by
children, protecting them and leading them
through darkness. Such is his compassion that
some artworks depict him carrying demons across
rivers to protect them.
 HoteI
(a benevolent Japanese god and symbol of
luck.)
The figure of Hotei emerged from a combination of
folk beliefs and Buddhist practice, primarily Zen
and the larger sect of Mahayana Buddhism. While
many of these folk beliefs originated in China, they
spread with Buddhism across China and into Korea,
Vietnam, and Japan. A rotund figure, Hotei’s mouth
is either smiling or opened for a laugh, leading
many people to know him as the “Laughing
Buddha.”
 INARI
(Japanese deIty and patron of tea, rice,
prosperIty, smIthIng, and foxes.)
Inari is the god of prosperity and success,
resulting in a universal appeal that helps explain
Inari’s popularity across Japan. This prosperity
applies in equal parts to agriculture and to
industry, given the importance of Inari to
craftsmen and smiths during the Edo period
(1600-1868), for during this period smiths became
an important part of Japanese industry and the
culture of samurai.
 INARI
(Japanese deIty and patron of tea, rice,
prosperIty, smIthIng, and foxes.)
Inari is the Japanese kami (a type of god or spirit
in the Shinto religion) of prosperity, tea, agriculture
(especially rice), industry, and smithing. A complex deity
with many faces, Inari is variously referred to as male,
female, and androgynous, depending on the context.
Although Inari’s role has changed over time, they have
been popular throughout Japan for more than a
thousand years. Inari is perhaps most well-known due to
their association with foxes, called kitsune, who act as
Inari’s messengers and receive protection in return.
 JIZO
(protector of chIldren and the dead.)
Jizo’s role as a protector figure expanded over time
to include safeguarding children, expectant mothers,
travelers, and firefighters. Jizo statues dressed in red
bibs are a common sight in Japan, as these bibs are
believed to protect against illness and danger.
Another representation of Jizo’s role as a protector
figure is the custom of building stone towers by travelers
along hiking trails or near cemeteries, as an act of
kindness to help the souls of deceased children in their
penance and to bring comfort to their families.
 JurojIN
(Old Man of LongevIty)

Jurojin is a syncretic deity, a combination

of Chinese Daoist belief, historical figures, and
Buddhist imagery. Appearing as an old man, he
is relatively short, only 90 centimeters (2’11”),
with a bald head and a smiling face. His spine
curved, he relies on a staff, upon which is tied
either a scroll that recounts the lifespan of all
living things or a Buddhist sutra (sacred text).
 JurojIN
(Old Man of LongevIty)
In his other hand he carries a fan. He is
accompanied by several animals,
including a tortoise and a crane, but his
most constant companion is a deer. In the
pre-modern world, each of these
creatures was believed to live for
hundreds or thousands of years, making
them symbols of longevity.
 KagutsuchI
(gOD OF FIRE)
Kagutsuchi is the Japanese god of fire. His fiery
nature killed his mother, the divine creator Izanami,
during birth. He is the god of blacksmiths and
ceramic workers.
Kagutsuchi is a being of fire who constantly
emits flames. He is hard to look at and impossible
to touch without being burned. Difficult to control,
when he is focused he burns with creativity,
relating to the power of his birth. He is connected
to volcanoes and seismic activities.
 KagutsuchI
(gOD OF FIRE)
Because of his creative powers,
Kagutsuchi is worshiped by
craftsmen who harness fire.
Blacksmiths especially pay him
homage, and ceramic workers do
the same.
 Kannon
(Goddess of compassIon and mercy)

Kannon is the bodhisattva of compassion

and mercy, the keeper of peace and reliever
of troubles. She can help women become
pregnant, end droughts, and is associated
with vegetarianism through her compassion.
Many Japanese believe that anyone who
cries out to Kannon with earnest, honest faith
will feel her love and find salvation.
 nINIGI
(Japanese deIty credIted wIth brIngIng rIce,
cIvIlIzatIon, and justIce to humanIty.)

Ninigi is the grandson of Amaterasu, the goddess

of the sun and the Queen of the Heavens. Sent to
Japan to grow the first rice crop, he brought
civilization to both kami (a type of god or spirit in
the Shinto religion) and humans, and is the great-
grandfather of Emperor Jimmu, the first Emperor of
Japan. Ninigi is thus the honored ancestor and
progenitor of the current Imperial Family of Japan.
 RaIjIn
(god of storms)
Raijin is the Japanese god of storms, a chaotic
being born of death who brings the world vital
rains as well as chaos and destruction. He flies
across the sky on dark clouds and throws lightning
onto unsuspecting denizens below.
A popular kami (a type of god or spirit in the
Shinto religion) despite his connection to death
and destruction, Raijin is represented in Shinto and
Buddhist imagery, as well as in folk belief and
popular art.
 SUSANOO
(Tempestuous Japanese god of seas and
storms and slayer of dragons)
Susanoo-no-Mikoto is the Japanese god
of the sea and storms. A powerful and
boisterous guardian kami, Susanoo’s moods
are often as temperamental as his actions
are chaotic. His fight with the dragon Orochi
led to the creation of the sword Kusanagi-
no-Tsurugi, one part of Japan’s sacred
regalia.
 TSUKUYOMI
( gOD OF MOON )
Tsukuyomi is very much a match for his wife
Amaterasu. Beautiful and serene, he believes in
order and etiquette and enforces them whenever
he can. His enforcement of such ideals extends to
the point that he is willing to kill to maintain order,
despite killing itself being a breach of etiquette in
the heavenly court. Thus, there is irony in Tsukuyomi’s
strict adherence to etiquette: to enforce it, he is
willing to break it.
 TSUKUYOMI
( gOD OF MOON )
Though the moon is often regarded as
beautiful and worthy of viewing,
Tsukuyomi himself is seen as a negative
figure in Shinto and Japanese folklore.
This does not prevent him from having
shrines, however, such as one at
Matsunoo-taisha in Kyoto.
 THE
DEATH OF
IZANAMI
イザナミの死
 After the birth of these and many other deities,
including the islands of the Japanese archipelago
(and, according to one version, also the rulers of the
universe, the sun, the moon and the storm), the birth of
the gods of fire proved fatal to the goddess, Izanami.
Her death was not unlike that of a human being from a
fever, and it may be called the first instance of human
mortality.
 The death of the mother goddess is the beginning of the
antithesis between life and death, and of other cycles of
similar contrasts, like that of light and darkness, of order
and atrocity, etc.
The goddess Izanami died and descended to the
Japanese Underworld, Yomotsu-kuni (“the Land of Gloom”).
Her husband Izanagi, like Orpheus, followed her to her
subterranean abode.
 The goddess asked him not to look at her. Yet,
being eager to see her, the husband lighted a
little torch and, in the darkness of the pit, beheld
the ugly, decaying figure of the goddess.
She was angry at her husband’s disobedience
and, wishing to punish him by imprisoning him too
in the Land of Gloom, she pursued him as he fled.
 Izanami called together all the furies (Shikomé, ” the ugly
females”) and ghosts of the place, and they nearly caught
him, but Izanami threw behind him the wild grapes and
bamboo shoots that grew on his comb, and the furies
stayed to eat the fruits.
After several narrow escapes and extraordinary
experiences, the male deity succeeded in reaching the
boundary between the Underworld and the terrestrial world.
The furies and ghosts no longer pursued him, but the
female deity came as far as the pass into the world.
There the husband lifted a large rock and blocked up
the opening that led to the upper world. However, a
few demonic entities managed to escape before
Izanagi had manged to close the gap, among them
being Fujin and Raijin.
Then said the goddess in furious anger: “Henceforth I
shall cause to die every day one thousand of thy
people in thy realm.”

The god answered: “Then I shall give birth to one

thousand and five hundred every day.”
 The two deities thus came to a final breach, and
from that day the births and deaths in this world are
kept at the proportion named.

Through this breach between the original couple

who had generated all things in the world came the
division of the world between life and death.