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Assignment
Ancient Myths and Tales in Japan
Submitted to
SCHOOL OF HERITAGE AND RESEARCH MANAGEMENT
Dr. B. R. AMBEDKAR UNIVERSITY
18-A Satsang Vihar Marg, Qutub Institutional Area, New Delhi- 110067
Master of Arts
Archaeology and Heritage Management
2023-2024
Paper
Indian & the World: Through the Ages
Submitted by Under the Guidance of
Suhasini M Iyer Dr. Sima Yadav
S233PAH23
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Table of Contents
Acknowledgement 3
Aims and Objectives 3
Literature Review 3
Methodology and Limitations 3
Influence of Geography and Environment on Japanese Mythology 4
Forests and Sacred Mountains 4
Rivers and the Sea 4
The Creation 4-9
The Koto Amatsu Kami and Kamiyo Nanayo 5-6
Izanagi, Izanami & Creation of Japan 6-7
Amaterasu, Susanoo, and Tsukuyomi 7-9
Shinto and Buddhist Influences 9-15
Introduction of Buddhism to Japan 10-11
Syncretism of Shinto and Buddhism 11-12
Popular Deities 12-15
Yokai and Depiction of Animals 15-17
The Kappa 15-16
Kitsune and Inari- The Fox God 16-17
Folktales 17-19
Momotaro (Peach Boy) 17-18
The Tale of the Bamboo Cutter (The Tale of Princess Kaguya) 18-19
Cultural Impact and Modern Interpretations 20-21
References and Bibliography 22
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Acknowledgment
I would like to express my sincere gratitude to all those who have contributed to the
completion of this assignment on "Ancient Myths and Tales in Japan." The depth and
richness of this exploration of Japanese mythology would not have been possible without the
support and guidance of several individuals.
First and foremost, I extend my heartfelt thanks to Dr. Sima Yadav for her invaluable insights,
encouragement, and constructive feedback throughout the research and writing process. I am
also deeply thankful to the authors, scholars, and researchers whose works have been
referenced in this assignment. Their contributions have provided a solid foundation for
understanding the complexities of Japanese mythology and its cultural significance.
Furthermore, I would like to acknowledge the cultural heritage of Japan and the people who
have preserved and shared their myths and tales throughout the generations.
Lastly, I extend my gratitude to my peers and friends (Rachna, Aditi, Patricia, Vidhata &
Priyanka) who have offered support, encouragement, and engaging discussions on the subject
matter.

 Aims and Objectives

This assignment centers around:
 To explore the richness of Japanese Mythology
 To understand the Historical Context of Japanese Myths.
 To analyse the significance of Shinto in Japanese culture.
 To explore the Syncretism of Shinto and Buddhism.
 To investigate the role of folktales in Japanese society.
 To evaluate the influence of Myths on the Arts and culture of Japan.
 To examine notable myths and tales.

 Literature Review
“Japanese Myths & Tales” by Dr. Alan Cummings has been the main source of information
for this paper. Other sources like “Japanese Culture” by Varley, P. H. and “Japanese Tales”
by Tyler, R. have also contributed to this subject matter.

 Methodology and Limitations

Secondary sources are the sole contributors of information for this paper. A careful research
and comparison were done to maintain the relevancy and authenticity of the information in
this assignment. Some limitations encountered during this project were time constraints and
of course not being able to carry out field visits.
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Influence of Geography and Environment on Japanese Mythology

The mythology of Japan is deeply intertwined with its geography and environment. The
natural features of the archipelago, including mountains, rivers, forests, and coastlines, have
played a significant role in shaping the beliefs, stories, and rituals of Japanese mythology.
Here is a detailed account of the influence of geography and environment on Japanese
mythology

 Forests and Sacred Mountains

Dense forests, especially in mountainous regions, are often associated with supernatural
beings and spirits known as Yokai. These creatures play a role in various myths and folktales.

 Mount Fuji
Mount Fuji is not only the highest peak in Japan but also a sacred and iconic symbol. It is
considered a kami (spirit or deity) in Shinto, the indigenous religion of Japan. Many
myths and legends surround Mount Fuji, and it is often depicted as a gateway to the
divine realm.
 Mount Hiei and Mount Kurama
These mountains near Kyoto are associated with the activities of legendary figures like
En no Gyoja, a mountain ascetic who is considered the founder of Shugendo, a Japanese
mountain asceticism and shamanic tradition.

 Rivers and the Sea

Numerous rivers crisscross Japan and water has a significant role in Japanese mythology.
Many deities are associated with rivers, and rituals are performed to appease these water
spirits.
The country is an archipelago surrounded by the sea, and the ocean has a profound influence
on Japanese mythology. Sea deities and creatures are prevalent in the folklore and stories of
the region.

The Creation
Japan may have absorbed the religion, art, and social life of China, but the country has its seal
upon what was borrowed from the Celestial Kingdom and created a worldview and a
mythology truly its own.
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The “Kojiki” (Record of Ancient Things), compiled in 712 CE by the court scholar Ono
Yasumaro under Empress Genmyo of the Yamato Clan of Nara and “Nihon Shoki/Nihongi”
(Chronicle of Japan) written by a group of court scholars under Emperor Temmu of the
Yamato Clan of Nara and later on edited and finished by his son Prince Toneri in 720 CE, are
the sources from which we learn the early myths and legends of Japan. In their pages, we are
introduced to Izanagi and Izanami and numerous other divinities and these august beings
provide us with stories that are quaint, beautiful, quasi-humorous, and sometimes a little
horrible.
Japanese legends are essentially poetical, however, there is plenty of crude realism in them as
well.

 The Koto Amatsu Kami and Kamiyo Nanayo

The Kojiki and Nihon Shoki describe the “Tenchi kaibyaku” (Creation of Heaven & Earth).
They describe an unbounded, amorphous, and chaotic mass that existed infinitely. This
existed for eons until particles and an area of light and transparency arose within it. The light
rose the highest and created “Takama gahara” (High Plain of Heaven) and the particles
beneath it created “Ashihara no Nakatsukuni” (Earth).
The first three primordial Gods, followed by a further two lesser Gods, together known as the
“Kotoamatsukami” spontaneously materialized in Takama Gahara.
Then another two Gods appeared, who in turn engendered five generations of Gods. These
seven Gods are collectively known as “Kamiyo nanayo”.
“Hitorigami” are deities who came into being alone as opposed to the rest of the last 5
generations of Kamiyo Nanayo who came into being as pairs. They do not have a definitive
gender and went into hiding upon achieving complete awareness, almost immediately after
their emergence. This includes the Koto Amatsu Kami and the first two Kamiyo Nanayo.

5 Kotoamatsukami

3 Primordial Gods of Umashi ashi kabi hikoji

Creation (God of Reed)

Ame no minakanushi
Kami musubi (God of
(Lord of the August Takami musubi (God of
Creation and Goddess Ame no toko tachi (God
Center of Heaven) Agriculture) - Oyagami
of Healing)- Oyagami of Rain & Monsoon)
Oyagami of Muraji and of Yamato Clan
of Izumo Clan
Obito Clan
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Uhijin

Suhijin (Younger
Sister/Wife)

Tsunuguhi

Ikuguhi (Younger
Sister/Wife)

Otonoji
Kuni no toko tachi and
Kamiyo nanayo Toyo kumono Otonobe (Younger
Sister/Wife)

Omodaru
Male Aya kashiko ne (Younger
Sister/Wife)
Female
Izanagi

Izanami (Younger
Sister/Wife)

Hitorigami

Kotoamatsukami First 2 Kamiyo nanayo

Ame no Takami Kuni no toko Toyo kumono

Kami musubi
minakanushi musubi tachi

Umashi ashi Ame no toko

kabi hikoji tachi

 Izanagi, Izanami & Creation of Japan

Ame no minakanushi and Kuni no toko tachi summoned the divine pair of Izanagi & Izanami
and charged them with bringing creation on the Earth to completion. To do this Izanagi &
Izanami stood on the Floating Bridge of Heaven and together stirred the oily brine that
existed below heaven with a jewelled spear. The first drops that fell on Earth created the first
Island of Japan where they took up residence. Among their children were the other islands
that make up the Japanese archipelago as well as the Gods of the mountains, the plains, the
winds, trees, and so on. While giving birth to Kagutsuchi, the God of Fire, Izanami was
severely burned and later died of her wounds and went to Yomi (underworld). Even while
dying she gave birth to more divine beings, such as the God and Goddess of metals and
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Earth, and finally, Mizuhame no mikoto, the Goddess of Death. This entire event is described
as “Kuniumi” in Kojiki and Nihon Shoki.
Grief-stricken by Izanami’s death, Izanagi decided to bring her back and went to Yomi, the
abode of darkness. Upon reaching there he sought after Izanami and upon hearing her voice,
urged her to show herself as she was hidden in the gloom and come back. She said she would
require the permission of the Gods of Yomi for this. Unable to control his desire to see
Izanami again, Izanagi broke off a tooth of his hair comb and lit it as a torch, and was
horrified by the sight before him. Izanami had turned into a maggot-infested rotting corpse.
Angered by his act, she sent a hoard of demons after him. Izanagi distracted the demons by
throwing three divine peaches towards them. By this time, Izanami herself had transformed
into a demon and chased after him. Before she could reach him though, Izanagi got out of
Yomi and sealed its entrance with a huge boulder. After this, they confronted each other from
either side of the boulder one final time, and mutually dissolved their marriage vows.

Izanagi & Izanami

Image Source: author@www.learnreligions.com

 Amaterasu, Susanoo, and Tsukuyomi

After his return from Yomi, Izanagi took a ritualistic purification bath to rid himself of the
imi (pollution) from contact with the dead. In this process, a further sequence of divine beings
was created culminating in the Sun Goddess Amaterasu, the Moon God Tsukuyomi, and the
God of Storms Susanoo.
Amaterasu emerged from Izanagi’s left eye during his purification bath. She was entrusted
with the rulership of Takama gahara due to her immense wisdom and leadership capabilities.
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Amaterasu is of great importance in the Shinto culture. She is considered the ancestress of the
Japanese imperial family.
Tsukuyomi emerged from the right eye of Izanagi during his purification bath. Due to his
serene personality, he was entrusted with the realm of night and the moon is his abode. His
role was to maintain the balance between light and darkness.
The God of Storms, Susanoo, emerged from the nose of Izanagi during his purification bath.
The youngest of the three siblings, he was born with a spontaneous, turbulent, and often
destructive personality. His father entrusted him with the realm of oceans. Dissatisfied with
his assignment and jealous of the ascendancy of his sister Amaterasu, he engaged in a fierce
conflict with Amaterasu. This resulted in, Amaterasu, withdrawing herself to a cave plunging
the Earth and Takama gahara into darkness. After a series of efforts to bring her back, the
Gods of Takama gahara finally achieved success with the help of Ama no uzume, the Goddess
of Dawn. After the return of Amaterasu to Takama gahara, all the other deities agreed to
punish Susanoo. This was done by Izanagi, who banished him from Takama Gahara.
Banished from the high plains of heaven, Susanoo took residence in the coastal city of Izumo
on Ashihara no Nakatsukuni.
Despite his tumultuous relationship with Amaterasu, Susanoo is a complex deity with both
positive and negative aspects. While he is the bringer of Storms and chaos in the seas,
Susanoo is also credited with performing heroic deeds, contributing to the development of
Japanese culture like slaying the Yamata-no-Orochi, a monstrous eight-headed serpent, and
saving princess Kusanada Hime (whom he later marries) from its clutches. In gratitude, the
princess presents him with a sacred sword, one of the Imperial Regalia of Japan.

Amaterasu

Image Source: author@japanthis.com

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Tsukuyomi

Image Source- author@japanthis.com

Susanoo

Image Source- author@japanthis.com

Shinto and Buddhist Influences

Shinto emerged as the indigenous religion which flourished in Japan before the introduction
of Buddhism in the sixth century AD and has remained a vital force in all aspects of Japanese
culture up to the present day. Shinto means “the way of the Gods” and it centers around the
kami, a term that includes both the gods of myth, spirits, ancestors, and also the numinous
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powers inherent in all natural beings. Shinto lacks a sophisticated metaphysical theology or
philosophy; its main aim is to regulate human activities within the natural world
harmoniously.
Early Shinto shrines are based around natural features such as waterfalls, forests, and
mountains. By the sixth century AD, families specializing in specific rituals started building
and maintaining several shrines, as well. Every town and village in Japan has its own Shinto
shrine out of which those at Ise and Izumo are of national importance.
Associated with these shrines are colourful annual festivals known as Matsuri, in which the
resident kami of a shrine is brought out and paraded across the town or village in a portable
shrine.
Shinto customs are deeply woven into Japanese culture, and the deities are revered as
guardians of the nation. The Shinto deities are integral to the cultural identity of Japan. They
are celebrated in various festivals, rituals, and ceremonies that mark important life events
such as birth, marriage, and death.

Izumo Taisha/ Izumo Grand Shrine

Image Source- author@www.peak-experience-japan.com

 Introduction of Buddhism to Japan

The introduction of Buddhism to Japan is a complex historical process that took place over
several centuries. Buddhism is believed to have arrived in Japan in the mid-6th century,
during the Asuka period (538-710). The introduction of Buddhism to Japan is traditionally
attributed to the arrival of scholars, monks, and artifacts from the Korean kingdom of Baekje.
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The historical accounts suggest that the ruler of Baekje, King Seong, sent a mission to the
Japanese court in 552 or 538 (accounts vary) that included gifts and Buddhist scriptures. The
Japanese ruler at the time, Emperor Kimmei, is said to have received the gifts and accepted
Buddhism. The Chinese-style Buddhism of the time, particularly the teachings of Mahayana
Buddhism, gained prominence in Japan.
The propagation of Buddhism was furthered by Prince Shotoku, a regent and statesman in the
Asuka period, who played a key role in supporting and promoting the new faith. Prince
Shotoku is credited with the creation of the Seventeen-Article Constitution, a document that
expressed principles of governance influenced by Buddhist and Confucian ideas.

 Syncretism of Shinto and Buddhism

Shinto is the indigenous, polytheistic belief system of Japan that involves the veneration of
kami (spirits or deities) associated with natural elements, ancestors, and various aspects of the
world. Buddhism, on the other hand, was introduced to Japan from the Asian mainland, and
its various schools and sects brought new religious practices, texts, and iconography.
The process of assimilating Buddhism into Japanese culture involved adapting it to local
Shinto beliefs and practices, leading to the development of distinct Japanese Buddhist
traditions. Several factors contributed to the blending of Shinto and Buddhism:

 Complimentary Beliefs
Shinto and Buddhism were not seen as mutually exclusive, and their beliefs often
complemented each other. Shinto addressed concerns related to this world, such as fertility,
harvest, and protection, while Buddhism provided a framework for addressing the afterlife
and spiritual liberation.

 Adoption of Buddhist Deities

Some kami were identified with Buddhist deities, and vice versa. For example, the Shinto
deity Inari became associated with the Buddhist bodhisattva of mercy, and Hachiman, a
Shinto war deity, was also revered by samurai as a manifestation of Buddhist divinities.

 Shared Spaces
Shinto shrines and Buddhist temples were often constructed close to each other, if not on the
same grounds. This allowed practitioners to engage in rituals and ceremonies from both
traditions at the same location.

 Ritual Synthesis
Rituals and ceremonies began to incorporate elements from both traditions. For instance,
Buddhist rituals were adapted to include Shinto purification rites, and vice versa.

 Artistic Synthesis
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Art, including sculpture and paintings, began to reflect the merging of Shinto and Buddhist
iconography. Deities from both traditions were depicted together, and religious art often
showcased a blend of influences.

 Cultural and Social Integration

The syncretism of Shinto and Buddhism extended beyond religious practices and became
deeply ingrained in Japanese culture and society. It influenced art, literature, theatre, and even
the structure of governance.

 Popular Deities
Today, Buddhism continues to be a significant religious and cultural influence in Japan, with
a variety of sects and practices coexisting within the broader religious landscape.

 Jizo- The God of Children

Jizo, also known as Jizo Bosatsu or Ojizo-sama, is a prominent Bodhisattva in Japanese
Buddhism, and he is particularly revered as the guardian of children, travellers, and the souls
of the deceased. Jizo is known for his compassionate and protective nature, and he is one of
the most beloved and widely worshipped deities in Japan.
He is seen as a compassionate figure who willingly takes on the suffering of others. His vow
to assist sentient beings and alleviate their suffering is a central theme in his teachings. This
compassion extends not only to children but to all beings in need.
He is often depicted as a monk, dressed in traditional robes and holding a staff with six rings,
a jewel, or a wish-granting jewel in his hand. Sometimes, he is portrayed with a child in his
arms or carrying children's toys. His benevolent and approachable appearance is meant to
convey comfort and reassurance.
Jizo is especially associated with the protection of children, particularly deceased or stillborn
children. It is believed that he guides the souls of these children and ensures their safe
passage to the afterlife. Parents often turn to Jizo for solace and protection, offering prayers
and rituals in his honour.
His statues are commonly found throughout Japan, often lining roadsides, paths, and
cemeteries. These statues serve as focal points for prayers and offerings, particularly from
parents who have lost children. It is a common custom to dress these statues in red bibs and
caps, symbolizing protection and warmth.
Various festivals and ceremonies are held in honour of Jizo throughout the year. One notable
event is the Mizuko Kuyo ceremony, dedicated to the memory of aborted, miscarried, or
stillborn children. Participants make offerings to Jizo as a way of expressing love and seeking
solace for the departed souls.
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Jizo Statue at Kiyomizu Dera

Image Source- author@www.worldhistory.org

 The Gods of Luck

 Daikoku- the God of Wealth

Daikoku is represented with a magic mallet, which bears the sign of the jewel, embodying the
male and female spirit, and signifies a creative deity. A stroke of his mallet confers wealth
and his second attribute is the Rat. He is frequently portrayed as a Chinese gentleman, rich
and apparelled, and is usually shown standing on bales of rice, with a bag of precious things
on his shoulders.

Daikoku
Image Source- author@ fineartamerica.com
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 Ebisu- The God of Labour

Ebisu is the son of Daikoku and is often pictured with him; the God of Wealth seated upon
bales of rice, pressing a Red Sun against his chest with one hand, and with the other holding
the wealth-giving mallet, while Ebisu is depicted with a fishing rod and a great tai fish under
his arm.

Ebisu
Image Source- author@jyuluck-do.com

 Hotei- God of Laughter and Contentment

Hotei is one of the most whimsical of the Japanese Gods. He is represented as extremely fat,
carrying on his back a ho tei (linen bag), from which he derives his name. In this bag, he
stows the precious things, but when in a particularly playful mood he uses it as a receptacle
for merry and inquisitive children. Sometimes, Hotei is represented in a broken-down and
extremely shabby carriage drawn by boys and is then known as the Wagon Priest. Again, he
is portrayed as carrying in one hand a Chinese fan and in the other his bag, or balancing at
either end of a pole the bag of precious things and a boy.
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Hotei
Image Source- author@jyuluck-do.com

Yokai and Depiction of Animals

Yokai, a term often translated as "monster" or "ghost," is a class of supernatural creatures,
spirits, and demons in Japanese folklore. These entities have been a part of Japanese cultural
traditions for centuries, and they play a significant role in mythology, literature, art, and
popular culture. The term yokai is a broad umbrella that encompasses a wide variety of
creatures with diverse characteristics and origins.
The concept of yokai draws from a blend of indigenous Japanese beliefs, animism, and
influences from Chinese mythology and Buddhist cosmology. Over time, the depiction and
categorization of yokai have evolved, with new creatures being added to the repertoire.
Animals too, play a significant role in Japanese mythology, where they are often featured as
divine beings, messengers, or symbols with cultural and symbolic importance.

 The Kappa
The Kappa is a mythical creature in Japanese mythology, known for its amphibious nature
and mischievous behaviour. They are often described as humanoid creatures with a humanoid
appearance. They are typically the size of a child, with scaly skin that ranges in colour from
green to yellow. One of the most distinctive features of the kappa is the dish-like depression
on the top of its head, which holds water. This water is said to be the source of the kappa's
power, and if it spills, the kappa becomes weakened.
They are strongly associated with bodies of water, such as rivers and ponds. They are
believed to inhabit these areas, and their name, "Kappa," is derived from "kawa no kappa",
which means "river child." Kappa are often said to drag people or animals into the water, and
they are considered dangerous, especially to children.
Kappa are known for their mischievous and sometimes malicious behaviour. They are said to
challenge humans to sumo wrestling matches and are obsessed with politeness. One way to
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escape a kappa encounter is to bow to it; the kappa, being polite, will feel compelled to bow
back, causing the water in its head to spill and rendering it powerless.
Similar to other mythical creatures in Japanese folklore, they are believed to have
shapeshifting abilities. They can transform into human or animal forms, making them elusive
and difficult to identify.
Kappa have a particular fondness for cucumbers, and offering a cucumber to a kappa is
believed to appease or distract it. Some legends even suggest that kappa can be lured out of
the water by throwing cucumbers onto the riverbank.

Kappa
Image Source- author@http://yabai.com/

 Kitsune and Inari- The Fox God

Kitsune (Foxes) are intelligent with magical abilities. In Japanese mythology, they are often
portrayed as shape-shifters capable of transforming into human form. They have the power of
infinite vision and they can hear everything and understand the secret thoughts of mankind.
While some kitsune are benevolent, others may be mischievous or malevolent.
Shinto fox deity Inari is considered a beneficent being who can cure coughs and colds, bring
wealth to the needy, protects rice fields, and answer a woman’s prayer for a child. Foxes are
often depicted as faithful servants of Inari, and they are commonly found at Inari shrines.
Inari is a multifaceted deity and is sometimes depicted as male, female, or both. The male
form is often associated with power and protection, while the female form is linked to fertility
and agriculture. In some traditions, Inari is considered a gender-fluid deity, capable of
shifting between male and female aspects.
Worshippers make offerings to Inari, including rice, sake (rice wine), and symbolic
representations of foxes. Rituals and ceremonies at Inari shrines may involve purification,
prayers for prosperity, and other acts of devotion.
Various festivals are held throughout the year to honour Inari. These festivals often include
processions, traditional dances, and rituals performed by Shinto priests.
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Inari and their fox spirits help the blacksmith Munechika forge the blade kogitsune-maru (Little Fox)
Image Source- author@fineartamerica.com

Folktales
Japanese folktales are rich narratives that have been passed down through generations,
offering insights into the cultural, moral, and supernatural beliefs of the Japanese people.
These stories often feature a mix of mythical creatures, gods, spirits, and ordinary humans.

 Momotaro (Peach Boy)

Momotaro is a beloved hero in Japanese folklore. The tale of Momotaro is one of the most
well-known and frequently told stories in Japan and promotes virtues such as courage,
loyalty, and the triumph of good over evil.

 The Origin
Momotaro's story begins with an elderly couple who find a giant peach floating down the
river. When they open the peach, they discover a baby boy inside. Overjoyed and considering
the child a gift from the gods, they name him Momotaro, meaning "Peach Boy."

 Momotaro’s Upbringing
Momotaro grows up to be a strong, brave, and kind young man. As he matures, he decides to
embark on a journey to Onigashima, an island inhabited by oni (ogres) that terrorize the
region. His mission is to rid the land of these ogres and bring peace to the people.

 Animals Companions
Before setting out on his journey, Momotaro befriends three animals—a dog- known for its
loyalty and courage; a monkey- renowned for its agility and cleverness; and a pheasant-
valued for its keen eyesight and ability to fly. These animals join him on his quest to
Onigashima.
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 The Ogre Battle

As Momotaro and his animal companions approach Onigashima, they encounter the ogres.
Momotaro bravely confronts the ogre leader and challenges him to a battle. With the help of
his animal friends, Momotaro defeats the ogres and brings peace to the land.

 Return
After the successful battle, Momotaro returns home to the elderly couple, bringing back the
treasures stolen by the ogres. The people of the region celebrate Momotaro as a hero, and he
is praised for his bravery and kindness.

Momotaro
Image Source- author@fineartamerica.com

 The Tale of the Bamboo Cutter (The Tale of Princess Kaguya)

"The Tale of Princess Kaguya," also known as "The Tale of the Bamboo Cutter," is one of
Japan's oldest and most famous folktales. It is a poignant and timeless narrative that explores
themes of love, loss, and the transience of life. The story has been adapted into various art
forms, including literature, theatre, and film, and continues to captivate audiences with its
beauty and emotional depth.

 The Origin
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The tale begins when a bamboo cutter discovers a radiant, tiny princess inside a bamboo
stalk. He and his wife, astounded by the divine beauty of the child, decide to raise her as their
own. The couple names her Kaguya hime, which means "Princess Radiant Night."

 Kaguya’s Beauty
As Kaguya-hime grows, her beauty becomes legendary, and suitors from far and wide seek
her hand in marriage. However, Kaguya sets impossible tasks for them, hoping to discourage
their advances. She challenges them to bring her items from mythical beings, such as the
Buddha or the mythical Mount Horai.

 The Impossible Tasks

Despite the seemingly insurmountable tasks, some suitors attempt to fulfil Kaguya's requests.
However, none succeeded. The tale explores themes of the ephemeral nature of life, the
pursuit of the unattainable, and the sorrow of separation.

 The Revelation
As the story progresses, it is revealed that Kaguya hime is not of this world. She is from the
Moon, and her time on Earth is temporary. She is saddened by the inevitable separation from
her earthly parents.

 Return to the Moon

In the end, celestial beings come to take Kaguya-hime back to the Moon. Despite her deep
love for her Earthly parents, she must return to her celestial origins. Before departing, she
leaves a letter and a robe of feathers for her parents, expressing her gratitude and love.

The Tale of Bamboo Cutter

Image Source- Illustration from Kodai monogatari zue
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Cultural Impact and Modern Interpretations

Japanese mythology has had a profound and enduring impact on the culture, arts, and
traditions of Japan. Its influence is not confined to the past, as modern interpretations and
adaptations continue to shape various aspects of contemporary Japanese society.
Japanese mythology has inspired a vast array of artistic expressions, including traditional
painting, poetry, literature, and performing arts. Classic works like "The Tale of Genji" by the
noblewoman, poet, and lady-in-waiting Murasaki Shikibu, draw on Shinto and Buddhist
themes, while the art of Ukiyo-e often features mythical creatures and legends.
Japanese architecture, especially in traditional Shinto shrines and Buddhist temples, reflects
elements of mythology. Symbolic motifs, dragon carvings, and depictions of legendary
creatures are often incorporated into architectural designs.
Various Japanese festivals and celebrations are linked to mythology. For example, Obon, a
festival honouring ancestors, has ties to Buddhist beliefs in the afterlife, while other festivals
celebrate specific deities or mythical events.
Japanese mythology has permeated contemporary pop culture, including manga (comics),
anime (animated shows), video games, and film. Characters inspired by kami, yokai, and
legendary figures frequently appear in modern storytelling. Popular franchises like Studio
Ghibli often draw inspiration from Japanese folklore.

Folding screen design depicting a scene from “The Tale of Genji”

Image Source- author@fineartamerica.com

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Popular Anime influenced by Japanese Mythology

Image Source- author@www.themoviedb.org

Popular Anime Movie based on “The Tale of Princess Kaguya” by Studio Ghibli

Image Source- author@www.themoviedb.org

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References and Bibliography

Cummings, A. (2020). Japanese Myths & Tales. Flame Tree Collections.
Varley, P. H. (2000). Japanese Culture. University of Hawaiʻi Press, Honolulu
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