Contents
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Banchō Banc hō Sara Sarayas yashiki hiki
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1.11 Hi 1. Hist stor oryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.2 Pl Plot ot sum summar maryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.2.1 1.2 .1
Folk Fo lk ve versi rsion on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.2.2
Ningyōō Jōruri ver Ningy versio sionn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.2.3
Okamoto Okam oto Kid Kidoo vers version ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.3 Okik Okikuu and Uki Ukiyo-e yo-e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.4 Influ Influenc ences es on Japan Japanese ese cul culture ture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.55 Se 1. Seee al also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.66 No 1. Note tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.7 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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1.8 Ext Exter ernal nal lilinks nks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Bota Bo tan n Dō Dōrō rō
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2.11 Hi 2. Hist stor oryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.22 Sto 2. tory ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.2.1
Otogi Bok Bokoo vers version ion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.2.2 2.2 .2
Rakug Rak ugoo ve versi rsion on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.2.3 2.2 .3
Kabuki Kab uki ve versi rsion on . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.2.4 2.2 .4
Differ Diff eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.3 Influence Influencess and ref referenc erences es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.44 Fil 2. ilm m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.55 Se 2. Seee al also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.66 No 2. Note tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.7 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.8 Fur Furthe therr re readi ading ng . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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2.9 Ext Exter ernal nal lilinks nks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Chōch Chō chin in-ob -obak akee
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3.11 No 3. Note tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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3.2 Sugg Suggeste estedd Read Reading ing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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3.33 Se 3. Seee al also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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Female Fem ale Ghos Ghostt (Kuni (Kunisada sada))
CONTENTS
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4.1 Yūrei-zu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 4.2 Yakusha-e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 4.3 Utaga Utagawa wa Kunisada (Toy (Toyokuni okuni III) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 4.4 Fema Female le Ghost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 4.5 Pri Print nt de detai tails ls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 4.66 Se 4. Seee al also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 4.77 No 4. Note tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 4.8 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 4.9 Exte External rnal sour sources ces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 5
Funa Fu nayū yūre reii
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5.11 Le 5. Lege gend ndss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 5.2 Cla Class ssic icss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 5.3 Mode Modern rn exa exampl mples es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 5.4 From the view of folk folkloristic loristicss . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 5.5 Theo Theories ries on the their ir true ide identity ntity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 5.6 Funa Funayure yureii by area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 5.7 Simi Similar lar leg legend endss outsi outside de Japa Japann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 5.8 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 6
The Gho Ghost st of Oyu Oyuki ki
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6.1 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 7
Goryō
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7.1 Des Descr cript iptio ionn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 7.22 Se 7. Seee al also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 7.33 No 7. Note tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 7.4 Re Reffer eren ence cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 7.5 Ext Exter ernal nal lilinks nks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 8
Hito Hi toda dama ma
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8.11 Su 8. Summ mmar aryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 8.22 Th 8. Theo eori ries es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 8.33 Se 8. Seee al also so . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 8.44 No 8. Note tess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 8.55 So 8. Sour urce cess . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 8.6 Ext Exter ernal nal lilinks nks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 9
Ikiiry Ik ryō ō
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9.11 Su 9. Summ mmar aryy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 9.2 Clas Classic sical al lite literatur raturee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 9.33 Fo 9. Folk lk La Law w . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
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9.3.1
Regional near-death spirits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
9.3.2
Ikiryō as an illness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
9.4 Similar activity or phenomena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 9.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 9.5.1
Explanatory notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
9.5.2
Citations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
9.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 10 Inugami
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10.1 Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 10.2 Traditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 10.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 10.4 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 11 Kuchisake-onna
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11.1 The modern urban legend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 11.2 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 11.2.1 Live action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 11.2.2 Manga and anime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 11.2.3 Other appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 11.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 11.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 11.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 12 Mujina
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12.1 In reality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 12.2 In folklore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 12.3 Sightings in Hawaii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 12.4 Other uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 12.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 12.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 13 Ochimusha
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13.1 Appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 13.2 Modern Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 13.3 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 13.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 14 Onryō
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14.1 Origin of onryō . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 14.2 Onryō vengeance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 14.2.1 Examples of onryō vengeance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 14.3 Physical appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
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14.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 14.5 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 14.5.1 Explanatory notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 14.5.2 Citations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 14.6 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 14.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 15 Shirime
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15.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 15.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 16 Shiryō
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16.1 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 16.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 16.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 17 Ubume
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17.1 Ubume in folklore . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 17.2 Ubume in literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 17.3 Ubume in art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 17.4 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 17.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 17.6 Suggested reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 17.7 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 18 Ushi no toki mairi
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18.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 18.2 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 18.2.1 Curse using dolls in antiquity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 18.3 Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 18.4 Popular art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 18.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 18.6 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 18.6.1 Explanatory notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 18.6.2 Citations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 18.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 19 Yotsuya Kaidan
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19.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 19.2 Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 19.2.1 Act 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 19.2.2 Act 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 19.2.3 Act 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
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19.2.4 Act 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 19.2.5 Act 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 19.3 Historical basis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 19.4 Popularity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 19.5 Ghost of Oiwa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 19.6 Yotsuya Kaidan and ukiyo-e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 19.7 Film adaptations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 19.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 19.9 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 19.10References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 19.11External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 20 Yuki-onna
51
20.1 Appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 20.2 Behaviour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 20.2.1 Lafcadio Hearn's version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 20.3 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 20.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 20.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 20.6 External references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 21 Yūrei
55
21.1 Japanese afterlife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 21.2 Appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 21.3 Classifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 21.3.1 Yūrei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.3.2 Buddhist ghosts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.3.3 Ikiryō . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.3.4 Obake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.4 Hauntings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.4.1 Famous hauntings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.5 Exorcism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 21.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 21.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 21.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 22 Yūrei-zu
59
22.1 Yūrei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 22.2 Historical background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 22.3 Yūrei-zu and theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 22.4 Censorship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 22.5 Yūrei-zu physical characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
vi
CONTENTS
22.6 Notable Edo examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 22.6.1 The Ghost of Oyuki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 22.6.2 Other Edo artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 22.7 Contemporary examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 22.8 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 22.9 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 22.10References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 22.11External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 22.12Text and image sources, contributors, and licenses . . . . . . . . . . . . . . . . . . . . . . . . . . 66 22.12.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 22.12.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 22.12.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Chapter 1
Banchō Sarayashiki jōruri production by Asada Iccho and Tamenaga Tarobei
I. Like many successful puppet shows, a Kabuki version followedand in September 1824, Banchō Sarayashiki was staged at the Naka no Shibai theater starring Otani Tomoemon II and Arashi Koroku IV in the roles of Aoyama Daihachi and Okiku. A one-act Kabuki version was created in 1850 by Segawa Joko III, under the title Minoriyoshi Kogane no Kikuzuki, which debuted at the Nakamura-za theater and starred Ichikawa Danjūrō VIII and Ichikawa Kodanji IV in the roles of Tetsuzan and Okiku. This one-act adaptation was not popular, and quickly folded, until it was revived in June 1971 at the Shimbashi Embujō theater, starring the popular combination of Kataoka Takao and Bando Tamasaburō V in the roles of Tetsuzan and Okiku. The most familiar and popular adaptation of Banchō Sarayashiki, written by Okamoto Kido, debuted in February 1916 at the Hongō-za theater, starring Ichikawa Sadanji II and Ichikawa Shōchō II in the roles of Lord Harima and Okiku. It was a modern version of the classic ghost story in which the horror tale was replaced by a deep psychological study of the two characters' motivations. Another adaptation was made in 2002, in Story 4 of the Japanese television drama Kaidan Hyaku Shosetsu. * [1] Tsukioka Yoshitoshi 's portrait of Okiku.
1.2
Banchō Sarayashiki or Bancho Sarayashi ( 番町⽫屋
Plot summary
敷 The Dish Mansion at Banchō) is a Japanese ghost story
(kaidan) of broken trust and broken promises, leading to 1.2.1 Folk version a dismal fate. Once there was a beautiful servant named Okiku. She The story of Okiku and the Nine Plates is one of the most worked for the samurai Aoyama Tessan. Okiku often refamous in Japanese folklore, and continues to resonate fused his amorous advances, so he tricked her into bewith audiences today. lieving that she had carelessly lost one of the family's ten precious delft plates. Such a crime would normally result in her death. In a frenzy, she counted and recounted the nine plates many times. However, she could not find the 1.1 History tenth and went to Aoyama in guilty tears. The samurai The story of Okiku is an old one, whose true origins are offered to overlook the matter if she finally became his unknown; however, it first appeared under the title Ban- lover, but again she refused. Enraged, Aoyama threw her down a well to her death. cho Sarayashiki in July 1741 at the Toyotakeza theater. The familiar ghost legend had been adapted into a ningyō It is said that Okiku became a vengeful spirit (Onryō) 1
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CHAPTER 1. BANCHŌ SARAYASHIKI
who tormented her murderer by counting to nine and then making a terrible shriek to represent the missing tenth plate – or perhaps she had tormented herself and was still trying to find the tenth plate but cried out in agony when she never could. In some versions of the story, this torment continued until an exorcist or neighbor shouted “ten”in a loud voice at the end of her count. Her ghost, finally relieved that someone had found the plate for her, haunted the samurai no more. 1.2.2
by accident, andpardons her, but when Okiku revealsthat she broke the plate as a love-test, Aoyama is enraged and kills her. He then throws her body down a well. From then after, Okiku ʼs ghost is seen to enter the house and count the plates, one through nine. Encountering her in the garden, Aoyama sees that her ghostly face is not one of vengeance, but beauty and calm. Taking strength from this, he commits seppuku and joins her in death.
Ningyō Jōruri version
Hosokawa Katsumoto, the lord of Himeji Castle, has fallen seriously ill. Katsumoto's heir, Tomonosuke, plans to give a set of 10 precious plates to the Shogun to ensure his succession. However, chief retainer Asayama Tetsuzan plots to take over. Tomonosuke's retainer, Funase Sampei Taketsune is engaged to marry a lady in waiting, Okiku. Tetsuzan plans to force Okiku to help him murder Tomonosuke. Tetsuzan, through the help of a spy, steals one of the 10 plates and summons Okiku to bring the box containing the plates to his chamber. There, he attempts to seduce Okiku. She refuses due to her love for Taketsune. Rejected, Tetsuzan then has Okiku count the plates to find only nine. He blames her for the theft and offers to lie for her if she will be his mistress. Okiku again refuses and Tetsuzan has her beaten with a wooden sword. Tetsuzan then has her suspended over a well and, erotically enjoying her torture, has her lowered into the well several times, beating her himself when she is raised. He demands that she become his lover and assist in the murder of Tomonosuke. She refuses again, whereupon Tetsuzan strikes her with his sword, sending her body into An ukiyo-e print by Hokusai depicting Okiku the well. While wiping clean his sword, the sound of a voice counting plates comes from the well. Tetsuzan realizes that it Romantic Influence is the ghost of Okiku but is entirely unmoved. The play ends with the ghost of Okiku rising from the well, Tet- Okamoto's version is notable for being a much more romantic adaptation of the story, similar to the Kabuki versuzan staring at her contemptuously. sion of Botan Doro. This was an influence of the Meiji restoration, which brought Western plays to Japan for the 1.2.3 Okamoto Kido version first time. Western plays were much more noticeable for romantic elements, and this was adapted into a style of In 1655, in Edo, a vassal of the Shogun Aoyama Harima theater known as Shin Kabuki. Shin Kabuki was ultihas fallen in love with a young servant girl Okiku. mately an unsuccessful merger of East and West, although Aoyama has promised to marry her, but has recently re- Okamoto's Bancho Sarayashiki remains as one of the few ceived an auspicious marriage proposal from an Aunt. classics. Aoyama promises Okiku that he will honortheir love, and refuse the proposal. Okiku doubts, and tests him by breaking one of the 10 heirloom plates that are the treasure of the Aoyama household. The traditional punishment for breaking one of the plates is death, which is demanded by Aoyama's family.
1.3
Okiku and Ukiyo-e
Like many Kabuki plays, Okiku was a popular subject matter for ukiyo-e artists. In 1830, Katsushika Hokusai included her as one of the kaidan in his One HunAt first, Aoyama is convinced that Okiku broke the plate dred Tales (Hyaku monogatari) series. Ekin, a somewhat
3
1.5. SEE ALSO
notorious artist who had troubles with the law, painted 1.5 See also a Byobu-e * [2] of Okiku being accused by Tetsuzan Aoyama and his brother Chuta. Botan Doro Most notably, she appeared as one of the New Forms of Thirty-Six Ghosts by Tsukioka Yoshitoshi. His portrayal Yotsuya Kaidan of Okiku is unusually sympathetic, particularly as ghosts were viewed as fearsome apparitions by nineteenth Kaidan century Japanese, reflecting a general trend in his later work. Onryō •
•
•
•
1.4
Influences on Japanese culture
•
Obake
•
Yurei
•
Japanese mythology
•
J-Horror
In 1795, old wells in Japan suffered from an infestation of a type of worm that became known as the “Okiku bug” (Okiku mushi). This worm, covered with thin threads 1.6 making it look as though it had been bound, was widely believed to be a reincarnation of Okiku. The Ningyo Joruri version is set in Himeji Castle, a popular tourist attraction at the castle is Okiku-Ido, or Okiku's Well. Traditionally, this is where the hapless maid's body was thrown after being killed by Tetsuzan. Although the castle is closed at night, it is said that her ghost still rises nightly from the well, and counts to nine before shrieking and returning.
Notes
[1] (Japanese) Kaidan Hyaku Shosetsu [怪談百物語] :: jdorama.com [2] Pictures on paper folding screens. [3] The Cutting Room Floor. http://tcrf.net/Proto:Monster_ Party#Haunted_Well [4]“Ido no naka”in Takahashi Rumiko, 1984, Mezon
The NES game Monster Party features a boss named Ikkoku, vol. 6, Tokyo: Shogakukan, pp. 165-184. “Haunted Well ”, a well who attacks by throwing plates at the player. In the prototype version, the boss actually counts out ten plates, though this reference in thedialogue 1.7 References does not exist in the final release. * [3] Manga artist Rumiko Takahashi included a parody of the legend of Okiku in her romantic comedy Maison Ikkoku. As part of an Obon event, the residents of Ikkoku-kan take part in a summer festival; Kyoko dresses up as Okiku and is supposed to hide in a shallow well. * [4]
•
•
In the manga Gintama, there is a parody of this story when the Yorozuya trio assist a man in organizing a “test of courage.” In the video game We Love Katamari , there is a female ghost that occasionally pops up from a well in the town level. In the 1998 film adaptation of Koji Suzuki's novel Ringu, the ghost in question is that of Sadako Yamamura, who was pushed down a well, where she was left to die. In the iOS and Android app Ayakashi: Ghost Guild , Banchō Sarayashiki is an obtainable daemon. In the anime and manga YuYu Hakusho, the name of the school the main protagonist (Urameshi Yuusuke), his rival (Kuwabara Kazuma) and his love interest (Yukimura Keiko) attend is “Sarayashiki Junior High. ”
•
•
•
Addiss, Steven, Japanese Ghosts and Demons , USA, GeorgeBraziller, Inc., 1986, ISBN 0-8076-1126-3 Brazell, Karen, Traditional Japanese Theater: An Anthology of Plays , USA, Columbia University Press, 1998 Iwasaka, Michiko, Ghosts and the Japanese: Cultural Experience in Japanese Death Legends , USA, Utah State University Press 1994, ISBN 0-87421179-4 Ross, Catrien, Supernatural and Mysterious Japan , Tokyo, Japan,Tuttle Publishing, 1996, ISBN 4900737-37-2 “Banchô Sarayashiki ”. Kabuki21. Retrieved July
14, 2006. •
“Okiku”. Asian Horror Encyclopedia . Retrieved
July 18, 2006.
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CHAPTER 1. BANCHŌ SARAYASHIKI
1.8 •
External links
Kaidan Bancho sara yashiki (1957) at the Internet
Movie Database •
Bancho sara yashiki: okiku to harima (1954) at the
Internet Movie Database •
•
Kaidan Hyaku Shosetsu (Story 4) (2002) at JDorama Original version of the story
Chapter 2
Botan Dōrō 2.1
History
Botan Dōrō entered the Japanese psyche in the 17th cen-
tury, through a translation of a book of Chinese ghost stories called Jiandeng Xinhua (New Tales Under the Lamplight ) by Qu You. The collection was didactic in nature, containing Buddhist moral lessons on karma. * In 1666, author Asai Ryoi responded to the Edo period craze for kaidan, spawned largely by the popular game Hyakumonogatari Kaidankai, by adapting the more spectacular tales from Jian Deng Xin Hua into his own book Otogi Boko ( Hand Puppets ).* At the time, Japan was a closed society, and very little was known outside of its own borders, so China was viewed as a mysterious andexotic nation. Asai removed the Buddhist moral lessons and gave the stories a Japanese setting, placing Botan Dōrō in the Nezu district of Tokyo. Otogi Boko was immensely popular, spawning multiple imitative works such as Zoku Otogi Boko ( Hand Puppets Continued ) and Shin Otogi Boko (New Hand Puppets ), and
is considered the forerunner of the literary kaidan movement that resulted in the classic Ugetsu Monogatari. * In 1884, Botan Dōrō was adapted by famous storyteller Encho Sanyutei into a rakugo, which increased the popularity of the tale.* In order to achieve a greater length, the storywas fleshed out considerably, adding background information on several characters as well as additional subplots. It was then adapted to the kabuki stage in July 1892, and staged at the Kabukiza under the title Kaidan Botan Dōrō . *
Otsuyu and the Peony Lantern
In 1899, Lafcadio Hearn, with the help of a friend, translated Botan Dōrō into English for his book In Ghostly Japan. He titled his adaptation A Passional Karma , and based it on the kabuki version of the story. * (牡 丹 燈 籠 The Peony Lantern) is a Japanese ghost story (kaidan) that is both romantic and horrific; it is one of the most famous kaidan in Japan. The plot involves sex with the dead and the consequences of loving a ghost. Botan Dōrō
A more modern version of the play was written in 1974 by the playwright Onishi Nobuyuki for the Bungakuza troupe, starring Sugimura Haruko, Kitamura Kazuo and Ninomiya Sayoko. It was so successful that it was staged again a fewyearslater in April1976 at theShimbashi EmIt is sometimes known as Kaidan Botan Dōrō (怪談牡 bujo. A new adaptation by Kawatake Shinshichi III was 丹灯籠 Tales of the Peony Lantern), based on the kabuki staged for the first time with a full Kabuki casting in June version of the story; this title is commonly used in trans- 1989, again at the Shimbashi Embujo. The Kawatake lation. version is still occasionally revivedbut is less popular than 5
6
CHAPTER 2. BOTAN DŌRŌ
the Onishi one.
*
skeleton sits in the doorway holding a peony lantern. He Much like Yotsuya Kaidan, there remains a superstition reports this to the local Buddhist priest, who locates the that actors who play the ghost roles in Kaidan Botan Doro graves of Otsuyu and her maid. Taking Saburo there, he will come to harm. This comes from a 1919 performance convinces him of the truth, and agrees to help Saburo at the Imperial Theater, when the two actresses playing guardhis house against the spirits. The priest places ofuda Otsuyu and her maid became sick and died within a week around the house, and prays the nenbutsu every night. of each other. * The plan works, and Otsuyu and her maid are unable to enter, although they come every night and call out their love to Saburo. Pining for his sweetheart, Saburo's health begins to deteriorate. Saburo's servants, afraid that he 2.2 Story will die from heartbreak leaving them without work, remove the ofuda from the house. Otsuyu enters, and again 2.2.1 Otogi Boko version has sex with Saburo. On the first night of Obon, a beautiful woman and a young girl holding a peony lantern stroll by the house of the widowed samurai Ogiwara Shinnojo. Ogiwara is instantly smitten with the woman, named Otsuyu, and vows an eternal relationship. From that night onward, the woman and the girl visit at dusk, always leaving before dawn. An elderly neighbor, suspicious of the girl, peeks into his home and finds Ogiwara in bed with a skeleton. Consulting a Buddhist priest, Ogiwara finds that he is in danger unless he can resist the woman, and he places a protection charm on his house. The woman is then unable to enter his house, but calls him from outside. Finally, unable to resist, Ogiwara goes out to greet her, and is led back to her house, a grave in a temple. In the morning, Ogiwara's dead body is found entwined with the woman's skeleton. * 2.2.2
Rakugo version
See Kaidan botan dōrō. 2.2.3
Kabuki version
In the morning, the servants find Saburo dead, his body entwined with Otsuyu's skeleton. His face is radiant and blissful.* 2.2.4
The main differences between the two versions are the changing of the human lover from Ogiwara Shinnojo, an elderly widower, to Saburo, a young student, and the establishment of a pre-existing lover's relationship between Otsuyu and Saburo. Where the Otogi Boku version was written during the isolated Edo period, the Rakugo/Kabuki version was written after the Meiji restoration, and was influenced by the flood of Western literature and theater that accompanied the modernization of Japan. * One of these influences was adding a romantic element to the story, something that was played down in older kaidan. The Otogi Boku version makes no mention of Otsuyu's death. TheRakugo/Kabuki version createsthe idea of Otsuyu and Saburo's love being stronger than death, and emphasizes Saburo's peaceful expression when his body is found entwined with the skeleton. *
A young student named Saburo falls in love with a beautiful woman named Otsuyu, the daughter of his father's best friend. They meet secretly, and promise to be married. But Saburo falls ill, and is unable to see Otsuyu for 2.3 a long time. Later, when Saburo recovers and goes to see his love, he is told that Otsuyu has died. He prays for her spirit during the Obon festival, andis surprisedto hear theapproaching footsteps of two women. When he sees them, they look remarkably like Otsuyu and her maid. It is revealed that her aunt, who opposed the marriage, spread the rumor that Otsuyu had died and told Otsuyu in turn that Saburo had died.
Differences
Influences and references
Botan Doro establishes the theme “ sexual encounter with a womanʼs ghost,” which would be encountered in nu-
merous Japanese ghost stories to follow. * This theme follows the standard pattern of a Noh theater katsuramono play, where the female ghost hides her spectral nature until the final reveal at the end of the story.
The nature of the ghost's return to Earth is either a lingering love, or a general loneliness. The Otogi Boko verThe two lovers, reunited, begin their relationship again in sion of Botan Doro has no prior relationship, and Otsecret. Each night Otsuyu, accompanied by her maid who suyu merely wishes for a companion in the afterlife. The carries a peony lantern, spends the night with Saburo. Rakugo/Kabuki version, however, has Otsuyu returning This continues blissfully until one night a servant peeks for a former lover. through a hole in the wall in Saburo's bedroom, and sees The sexual ghost can be found in Kyōka Izumi's story him having sex with a decaying skeleton, while another Maya Kakushi no Rei (A Quiet Obsession) which features
7
2.5. SEE ALSO
a sensual encounter with a female ghost in an onsen.
In 1972, director Chūsei Sone made a pink film version for Nikkatsu's Roman Porno series, entitled Hellish Botan Doro is famous for the onomatopoeia “ karannn ( ). Following the koronnn”, which is the sound of Otsuyu's wooden clogs Love 性談牡丹燈籠 Seidan botan doro Rakugo\Kabuki version, Hellish Love places emphasis on announcing her appearance on stage. * the sexual nature of the relationship between the protagonist and Otsuyu. Otsuyu is killed by her father who disapproves of the match with such a lowly samurai, but she promises to return on Bon Odori to be reunited with her 2.4 Film lover.* A massive change in the story is made in Masaru Tsushima's 1996 Otsuyu: Kaidan botan doro (Haunted Lantern). This version has Shinzaburo dreaming of a past life, where he promised a Double Suicide with Otsuyu, but fails to kill himself after she dies. In his present life, he meets a girl named Tsuya who is the reincarnation of his past beloved, but Shinzaburo's father arranges a marriage for him with Tsuya's sister, Suzu. Shinzaburo's friend attempts to rape Tsuya, so that she would stop being a nuisance jealous of her younger sister. Devastated, the two sisters commit suicide together. The usual consequences follow, but the film ends with Shinzaburo and Otsuyu further reincarnated together, living happily in a future life.*
2.5
Box cover for Nikkatsu's Hellish Love
See also
•
Bancho Sarayashiki
•
Japanese mythology
•
Japanese horror
•
Obake
•
Onryō
Boton Dōrō is one of the first Japanese ghost stories to be 2.6 Notes put to film, with a silent version in 1910. * [1] Six further adaptations were made between 1911 and 1937, although [1] http://www2.ocn.ne.jp/~{}nekomata/senzen.html all of these have been lost to time and only the titles are still known. It is second only to Yotsuya Kaidan in film adaptations, with a new version released every decade as either cinematic releases, direct-to-video releases, or tele- 2.7 References vision versions. * 1. ^ Reider, Noriko T. “The Emergence of KaidanNotable is Satsuo Yamamoto's 1968 version, filmed for Shu: The Collection of Tales of the Strange and Daiei Studios. It is variously known as Bride from Hell, Mysterious in the Edo Period ”Journal of Folklore Haunted Lantern, Ghost Beauty, My Bride is a Ghost, Studies (60)1 pg. 79, 2001 Bride from Hades, or Peony Lanterns . Yamamoto's film roughly follows the Otogi Boko version of the story, es2. ^ Reider, Noriko T. “The Appeal of Kaidan Tales tablishing protagonist Hagiwara Shinzaburo as a teacher of the Strange”Journal of Folklore Studies (59)2 pg. who flees an unwanted marriage with his brother's widow 265, 2000 & lives quietly some distance from his family. The usual encounter with Otsuyu follows, although the inevitable 3. ^ Iwasaka, Michiko, Ghosts and the Japanese: Culconsequence is treated as a happy ending or at worst bittural Experience in Japanese Death Legends , USA, tersweet since they are united beyond the grave & need Utah State University Press, pg. 111 1994, ISBN never again be lonesome. * 0-87421-179-4
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CHAPTER 2. BOTAN DŌRŌ
4.
^ “Botan
Doro”. Kabuki 21. Retrieved July 8,
2006. 5.
^ Araki,
James T., Traditional Japanese Theater: An Anthology of Plays , USA, Columbia University Press, 1998
6. ^ McRoy, Jay, Japanese Horror Cinema USA, University of Hawaii Press, pg. 22, 2005 ISBN 0-82482990-5 7.
^ “Botan Doro on Film”. Weird Wild Realm .
Re-
trieved July 28, 2006. 8.
^ Ross, Catrien, Supernatural and Mysterious Japan,
Tokyo, Japan, Tuttle Publishing, 1996, ISBN 4900737-37-2
2.8 •
•
Addiss, Steven, Japanese Ghosts and Demons , USA, George Braziller, Inc., 1986, ISBN 0-8076-1126-3 Kincaid, Zoe, Kabuki, the Popular Stage of Japan , USA, Macmillian, 1925
2.9 •
•
Further reading
External links
Lafcadio Hearn's translation “A Passional Karma ” Mudan Dengji (Peony Lantern) by Qu You, a translated by Jeremy Yang. A translation of original Chinese version
•
The Peony Lantern
•
Tales of Ghostly Japan
•
Otsuyu: Kaidan botan-dôrô (1998) at the Internet
Movie Database •
1990 botan-dôrô (1990) at the Internet Movie
Database •
Seidan botan-dôrô (1972) at the Internet Movie
Database •
Botan-dôrô (1968) at the Internet Movie Database
•
Kaidan botan-dôrô (1955) at the Internet Movie
Database •
Kaidan Botan-dōrō trailer
Chapter 3
Chōchin-obake [3] Kenji Murakami, Yōkai Jiten [4] Bakechochin, 57. [5] Bakechochin, 57.
3.2
Suggested Reading
“Bakechochin. ”The Element Encyclopedia of the Psychic World . Harper Element. (2006)
•
•
Bush, Lawrence. Asian horror encyclopedia: Asian horror culture in literature, manga and folklore. Writers Club Press. (2001) Kenkyūsho, Nihon Shakai Shisō. Japan interpreter : Volumes 8-9. (Tokyo, Japan), Nihon Shakai Shisō Kenkyūsho, Tokyo. (1974)
•
•
•
Murakami, Kenji (ed.). Yōkai Jiten ( 妖怪事典). Mainichi Shimbun (2000). The Element Encyclopedia of the Psychic World .
Harper Element. (2006) •
Screech, Timon. The lens within the heart: the Western scientific gaze and popular imagery in later Edo Japan. University of Hawaii Press (2002)
Chōchin-obake Chōchin-obake ( 提灯お化け, “paper lantern ghost ” ) is a type of Tsukumogami,* [1] "[the] lantern-spook
3.3
(chochinobake) ... a stock character in the pantheon of ghouls and earned mention in the definitive demonology of 1784.”* [2] The Chōchin-obake also appears in the
obake karuta card game, popular from the Edo period to the early 20th century (and still in use today). * [3] The Chōchin-obake in particular was created from a chōchin lantern, composed of “ bamboo and paper or silk.”* [4] They are portrayed with “ one eye, and a long tongue protruding from an open mouth. ”* [5]
•
Obake
•
Yōkai
•
Karakasa
•
Tsukumogami
•
Dusclops
•
3.1
Notes
[1] Bush, 109. [2] Screech, 109
9
See also
ja: 不 落 不 落 ('Burabura', possibly a type of Chōchin-obake)
Chapter 4
Female Ghost (Kunisada) Female Ghost is
an ukiyo-e woodblock print dating to 1852 by celebrated Edo period artist Utagawa Kunisada, also known as Toyokuni III. Female Ghost exemplifies the nineteenth century Japanese vogue for the supernatural and superstitious in the literary and visual arts. The print is part of the permanent collection of the Prince Takamado Gallery of Japan at the Royal Ontario Museum, Canada.
4.1 Yūrei-zu This print belongs to a genre of Japanese painting and ukiyo-e known as yūrei-zu (幽 霊 図), ghost pictures, which peaked in popularity in the mid-nineteenth century.* [1] Literallyʻfaint (幽 - yū) spirit ( 霊 - rei),ʼyūrei is just one of several Japanese words used to refer to spirits. Other terms include: obake (お化け), yōkai ( 妖怪), bōrei (亡霊), shiryō/ shirei (死霊), yūki (幽⻤), yōma (妖 魔), yūkai (幽怪), rei (霊), bakemono (化け物), konpaku (魂魄), henge (変化), onryō (怨霊) and yūreijinkō (幽霊 ⼈⼝).* [2] There is a long tradition of belief in the supernatural in Japan which relates to various influences, including such imported sourcesas Buddhism, Taoism and Chinesefolk- Kunisada Female Ghost print title cartouche lore. The most notable influence, however, is Shintō, a native animistic religion which presupposes that the physical world is inhabited by eight million omnipresent spirit 4.2 Yakusha-e beings. * [3] Yūrei-zu such as this one represent the conflation of two
prevailing trends in the nineteenth century Japanese literary and visual arts: depictions of the femaleform, and depictions of macabre or supernatural themes. During this period, ghosts ̶particularly the female variety ̶commonly figured in folktales, as well as theatre. Vengeful spirits returning to punish their wrong-doers were a staple of kabuki , bunraku and nō dramas, and proved popular with audiences.* [4] Wishing to tap into this market for the macabre, painters and woodblock artists began to create images of ghosts, as well as of kabuki actors in the roles of ghost characters.
Kunisada entered Utagawa Toyokuni's studio from a young age, and was therefore granted access to training from the finest masters of the age, as well as valuable connections to publishers, poets' associations, theatres and actors* [5] He began creating yakusha-e (actor images) in 1808, and this genre was to become the mainstay of his fame and fortune.* [6] So esteemed and prolific was he in this area, that he earned the epithet “Kunisada, the Portraitist of Actors (yakusha-e no Kunisada).”* [7] The Tempō Reforms of 1842, which had banned depictions of geisha, oiran courtesans and kabuki actors,* [8] began to be gradually repealed from the late 1840s, * [9] which 10
4.4. FEMALE GHOST
11
left Kunisada free to return to his favourite medium.
4.3
Utagawa Kunisada (Toyokuni III)
Born in 1786 in the Honjō district of Edo, * [10] Utagawa Kunisada (歌川国貞) was an apprentice of Toyokuni I, whom he later succeeded as Toyokuni III ( 三 代 歌 川 豊国 ).* [11]* [12] Although he debuted as a book illustrator in 1807 with illustrations for the series of beauties “Twelve Hours of the Courtesans ”(Keisei jūnitoki ),* [13] his production really took off from 1809. * [14] He founded his own studio in the early 1810s, and demand for his illustrations soon outstripped that for his master ʼs.* [15] Not only was he respected for his artistic talent, he was also admired for his “convivial and balanced demeanor, and [the fact that] he delivered his commissions on time.”* [16] Kunisada has been described as “without a doubt... was the most prolific and successful print artist of all time. ” * [17] Until the time of his death in 1865, he was incredibly prodigious, creating between 35 and 40 thousand designs for individual ukiyo-e prints. * [18] He produced images from diverse genres, including kabuki-e (pictures of kabuki actors), bijin-ga (pictures of beautiful women), yūrei-zu (ghost pictures), sumō-e (sumo wrestler Kunisada signature from Female Ghost print pictures), shunga (erotica) and musha-e (warrior prints). According to modern critics, Kunisada was “a trendsetter... in tune with the tastes of urban society. ”* [19] He is credited with infusing ukiyo-e with a sense of realism, particularly in his representations of female subjects. * [20] Compared with the females idealized in prints by Utamaro, his women are shorter limbed, * [21] with shorter and rounder physiques.* [22] They are often posed with “slightly bent backs and knees, giving them a hunched up, stumpy look. ”* [23] Like the female spirit in this print, they generally have longer faces with strong jaws giving an impression of “greater self-possession, if not outright aggressiveness.”* [24] The print dates to 1852 and was therefore done when Kunisada was 66, before his work declined into what has been described as “gaudy and ostentatious”use of colour. * [25] Critics tend to agree that Kunisada's later works suffered in quality “because of over-production and lowering of artistic standards.”* [26]
4.4
Female Ghost
The subject in this print corresponds to the typical depiction of female ghosts in Edo art: “a fragile form with long, flowing hair... dressed in pale or white clothing, the bodybelow the waist tapered into nothingness. ”* [27] The central area is dominated by the figure of a female spirit
with extremely long, wildly flowing black hair, crowned by a pale blue and white decoration. Unlike in many other yūrei-zu, the ghost in this print is not disfigured or particularly ghoulish. * [28] She wears a long, pale blue kimono* [29] with the long sleeves ( furisode - 振袖) common to the kimono of single women and female ghosts. Underneath are two inner robes, one solid red, and the other with a pale blue and white geometric design. Her kimono is fastened with a large dark blue obi tied in a disheveled bow at the front. Her kimono is closed left over right, as it would be worn by a living woman.* [30] The ghost floats, footless and with arms bent up at the elbows as is customary for ghost images of the period, * [31] in flames above a grassy field. Her head is framed by pine boughs. She stares off to the right, her gaze following her outstretched right arm. Covering the palm of her right hand is a blue cloth on top of which rests a rolled up kakemono or makimono scroll. In her left hand she grasps a red cloth̶possibly a furoshiki ̶which is tied up as a round, flat parcel. Peaking out over her right shoulder is the brown feathered fletching of a single arrow. The image dates to 1852, the most productive year of Kunisada's career, during which he produced almost one thousand compositions.* [32] The image depicts a scene from a kabuki play entitled Otogi banashi Hakata no imaori ( 御伽譚博多新織 ), which was staged at Edo's Nakamura-za theatre in 1852. The image takes its origi-
12
CHAPTER 4. FEMALE GHOST (KUNISADA)
Hakata no imaori •
•
•
•
•
•
Signature: Toyokuni ga ( 豊 国 画); in red oval toshidama-in cartouche, lower right corner Publisher: Yamamoto-ya Heikichi, Eikyūdō; * [39] dark blue hanmoto mark in bottom left corner Censor seals: 2 nanushi seals reading top to bottom Murata (村⽥ ) & Kinugasa (⾐笠 ) indicating Murata Heiemon & Kinugasa Fusajiro * [40] Date seal: rat 6, i.e. 6th month of 1852; * [41] oval in lower left corner, below censor seals Genre: Yūrei-zu, yakusha-e Provenance: donated to the ROM by linguist and librarian Leonard Wertheimer (1914-1998)
4.6 •
Princess Takamado Spring and autumn landscapes (Hara Zaishō) - items in same gallery
•
•
Nanushi, date and publisher's seals from Kunisada's Female Ghost
nal title from the character represented: Yaeki hime no rei (⼋重機姫の霊 - the ghost of Princess Yaeki). Although not named on the print, the character was played by actor Onoe Baikō (尾上梅幸 ).* [33]* [34] Although it is displayed in isolation in the ROM, the print is actually the centre image from a tryptich capturing different characters from the play. * [35] The image on the left ̶to which her outstretched right arm appears to be reaching ̶is of Akamatsu Shigetamaru (⾚松重太丸) as played by actor Ichikawa Kodanji ( 市川⼩団次).* [36] In the tryptich's right position, is another character from the play named Shichi[?]shirō ( 七? 四郎 ). The image belongs to a series of over twenty images depicting scenes from the play,* [37] including another of the Yaeki hime no rei character.* [38]
4.5
Print details
•
Size: ōban
•
Format: tate-e
•
•
Title: Yaeki hime no rei ( ⼋重機姫の霊 ); labelled Female Ghost by ROM Subject: Yaeki hime no rei (Ghost of Princess Yaeki) character from the kabuki play Otogibanashi
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•
•
•
•
See also
Unit 88-9 (Kiyomizu Masahiro) - item in same gallery Eijudō Hibino at Seventy-one (Toyokuni I) - print in same collection Ichikawa Omezō as a Pilgrim and Ichikawa Yaozō as a Samurai (Toyokuni I) - print in same collection Fan print with two bugaku dancers (Kunisada) print in same gallery Bust portrait of Actor Kataoka Ichizō I (Gochōtei Sadamasu II) - print in same gallery View of Tempōzan Park in Naniwa (Gochōtei Sadamasu) - print in same gallery
•
4.7
Actor Arashi Rikan II as Osome (Ryūsai Shigeharu) - print in same gallery
Notes
[1] Ross 1996, 36 [2] tangorin.com [3] Rubin 2000 [4] Rubin 2000 [5] Jesse 2012, 95 [6] Marks 2010, 120 [7] Jesse 2012, 95
4.8. REFERENCES
13
[8] Harris 2010, 146
[37] A number are visible at http://enpaku.waseda.ac.jp/db/ enpakunishik/results-1.php
[9] Jesse 2012, 95 [10] Marks 2010, 120
[38] http://enpaku.waseda.ac.jp/db/enpakunishik/results-big. php?shiryo_no=101-0877
[11] Harris 2010, 70
[39] Lane 1978, 311
[12] From his accession to the name Toyokuni in 1844, Ku- [40] http://mercury.lcs.mit.edu/~{}jnc/prints/nanushi.html nisada consistently signed his works Toyokuni II, refusing to accept the legitimacy of his predecessor, Toyokuni II. [41] Lane 1978, 213 He is, however, always referred to as Toyokuni III (Marks 2010, 120). [13] Marks 2010, 120 [14] Harris 2010, 70
4.8 •
[15] Marks 2010, 120 [16] Jesse 2012, 95
•
[17] Marks 2010, 120 [18] Harris 2010, 70
•
[19] Harris 2010, 70
References
Bell, David. Ukiyo-e Explained . Kent, U.K.: Global Oriental, 2004. Calza, Gian Carlo. Ukiyo-e. New York: Phaidon Press Ltd., 2003. Chiappa, J. Noel. “Nanushi Censor Seals. ”Accessed July 18, 2013. http://mercury.lcs.mit.edu/ ~{}jnc/prints/nanushi.html
[20] Calza 2003, 335 [21] Calza 2003, 335
•
[22] Harris 2010, 70 [23] Harris 2010, 70 •
[24] Calza 2003, 335 [25] Harris 2010, 73 •
[26] Munsterberg 1998, 129 [27] Ross 1996, 125 •
[28] This distinction is evident when this print is compared with a contemporary Kunisada image such as the ōkubi-e (large head print) The Ghost of Oiwa (1852) http://commons.wikimedia.org/wiki/File: Kunisada_The_Spectre.jpg
New York:
Iwasaka, Michiko and Barre Toelken. Ghosts and
Jesse, Bernd. “The Golden Age of the Utagawa School: Utagawa Kunisada and Utagawa Kuniyoshi.”In Samurai Stars of the Stage and Beauti ful Women: Kunisada and Kuniyoshi Masters of the Color Woodblock Print , edited by Stiftung Museum
[30] In preparation for burial or cremation, kimono of the deceased are always closed right over left. (http://www. bellaonline.com/articles/art27885.asp)
Kunstpalat, Gunda Luyken and Beat Wismer, 93101. Düsseldorf: Hatje Cantz Verlag, 2012. •
[32] Marks 2010, 120 [33] ja: 尾上梅幸 •
[35] See http://livedoor.blogimg.jp/vipsister23/imgs/4/b/ 4b545317.jpg for the three intact images. [36] http://enpaku.waseda.ac.jp/db/enpakunishik/results-big. php
Hillier, J. Japanese Colour Prints . Phaidon Press, 1991.
1994.
[29] See http://ja.ukiyo-e.org/image/metro/ M141-016-01(02) for versions of this print in other collections, which demonstrate colour variation.
[34] http://ja.ukiyo-e.org/image/metro/M141-016-01(02)
Harris, Frederick. Ukiyo-e: The Art of the Japanese Print . Tokyo: Tuttle, 2010.
the Japanese: Cultural Experience in Japanese Death Legends . Logan, Utah: Utah State University Press,
•
[31] Ross 1996, 125
Foster, Michael Dylan. Pandemonium and Parade: Japanese Monsters and the Culture of Yōkai . Los Angeles: University of California Press, 2009.
Lane, Richard. Images from the Floating World: The Japanese Print . New York: Konecky & Konecky, 1978. Marks, Andreas.
Japanese Woodblock Prints: Artists, Publishers and Masterworks 1680-1900.
Tokyo: Tuttle, 2010. •
Munsterberg, Hugo. The Japanese Print: A Historical Guide. New York: Weatherhill, 1998.
14 •
CHAPTER 4. FEMALE GHOST (KUNISADA)
Ross, Catrien.
Japanese Ghost Stories: Spirits, Hauntings and Paranormal Phenomena. Tokyo:
Tuttle, 1996. •
Rubin, Norman A. Ghosts, Demons and Spirits in Japanese Lore. Asianart.com. June 26, 2000. Accessed July 12, 2013. http://www.asianart.com/ articles/rubin/
4.9 •
•
•
External sources
http://www.rom.on.ca/en/ exhibitions-galleries/galleries/world-cultures/ prince-takamado-gallery-japan Webpage for the ROM's Price Takamado Gallery http://www.kunisada.de/ The Utagawa Kunisada Project Vast repository of information about Kunisada's works http://enpaku.waseda.ac.jp/db/enpakunishik/ results-1.php Images of prints from Kunisada's 1852 Otogi banashi Hakata no Imaori series
Chapter 5
Funayūrei
Kawanabe Kyōsai 's “ Boatman and Funayūrei ”. An example of a funayūrei rendered as an umibōzu-like yokai.
“ Funayūrei ” from the Konjaku Gazu Zoku Hyakki by Sekien
Toriyama Funayūrei (船幽霊
or ⾈幽霊, lit. “boat spirit”) are ghosts (yūrei) that have become vengeful spirits (onryō) at sea. They have been passed down in the folklore of various areas of Japan. They frequently appear in ghost stories and miscellaneous writings from the Edo An example of a funayūrei appearing as mysterious flames. Period as well as in modern folk customs. * [1] In the From the Tosa Bakemono Ehon. Yamaguchi Prefecture and the Saga Prefecture, they are called Ayakashi.* [1] can be used to protect from the harm they inflict, such as throwing onigiri into the sea or preparing a hishaku with its bottom missing. They are also called mōjabune (亡者船 ), bōko, or ayakashi depending on the area. * [2] 5.1 Legends Umibōzu, another strange phenomenon at sea, are someto be a type of funayūrei rather a type Funayūrei are ghosts believed to use hishaku (ladles) to times considered * fill boats with water and make them sink. They are said to of yōkai. [3] be the remnants of people who have died in shipwrecks Their appearance as depicted in legends varies widely deand are attempting to cause humans to join them. * [1] pending on thearea. There arestories that speak of ghosts According to legends, there are various methods that that appear above water, of boats that are themselves 15
16
CHAPTER 5. FUNAYŪREI
ghosts ( ghost ships), of ghosts that appear on humanoccupied ships, or of any combination of the above. They are described as appearing like umibōzu or kaika.* [1]* [2] There are many legends of funayūrei at sea, but they have also been described as appearing in the rivers, lakes, and swamps of inland areas. * [1] In Kōchi Prefecture, the kechibi, a type of onibi, is also sometimes seen as being a type of funayūrei.* [4] They often appear in rainy days, as well as nights on a new or full moon, * [5] and on stormy nights and foggy nights.* [1] When it appears as a boat, the funayūrei itself glows with light, so that it is possible to confirm its details even at night.* [5] Also, by operating on the sixteenth day of bon, the dead would attempt to approach the side of the ship and sink the ship. Also, on a very foggy evening, by making the boat attempt to run, a cliff or a boat without a pulley would appear, and since getting startled and attempting to avoid it would result in capsizing and getting stranded on a reef, it would be no problem to simply push on forward, making it disappear naturally. * [2] Other than attempting to sink ships, in thetown of Ōtsuki, Hata District Kochi Prefecture, they are said to make the boat's compass malfunction,* [6] and in the Toyoma Prefecture, fishing boats that travel to Hokkaido get turned into a funayurei, causing the crew to hang themselves.* [7] In Ehime Prefecture, when one encounters a funayurei, if one tries to avoid it by changing the boat's route, the boat runs aground.* [8]* [9] Also, in the past, to avoid shipwreck on a day of bad weather, people would light a bonfire on land, but a funayurei would light a fire on open sea and mislead the boatmen, and by approaching the fire, one would get eaten by the sea and drown. * [10] There are also various legends about how to drive away funayurei depending on the area, and in the Miyagi Prefecture, when a funayurei appears, they would disappear if one stops the ship and stares fixedly at the funayurei for a while.* [11] It isalso told that it isgood to stir upthe water with a stick.* [11] There arealso various theories that it would be good to throw things into the sea, and in Kōzushima, it would be flowers and incense, incense sticks, dango, washed rice, and water, * [12] in Kochi Prefecture, it would be ashes and 49 rice cakes, * [11] and in Otsuki, Kochi, it would be summer beans, * [13] in Nagasaki Prefecture, it would be woven mats, ashes, and burnt firewood.* [14] Also, in Kochi Prefecture, it is said to be possible to drive funayurei by saying “I am Dozaemon (わしは⼟左衛⾨だ )" and asserting to be one of the funayurei.* [4] In Ehime, one is able to disperse the funayurei by lighting a match and throwing it. * [9]
“ Funayūrei ” from the Ehon Hyaku Monogatari by Takehara
Shunsen
clan. It is known that the Taira clan came to ruin in the Battle of Dan-no-ura, but in the open sea between Dan no Ura and Mekari in the Kanmon Straits (Hayamoto, 早鞆), a funayurei wearing armor and helmet would appear, say “give me a bucket ”, and would cling to the boat. By lending a hishaku, it would pour water onto the boat, so when crossing this sea on a boat, one would thus prepare one with its bottom open, and thus stave off the funayurei. Once, there was a Buddhist priest, feeling pity for the spirit, gave it a Buddhist service, causing it to go away.* [15] Genrin Yamaoka, an intellectual from the Edo period, commented on funayurei that appear as balls of fire or ghosts at sea. Referring to Zhu Xi and the Cheng-Zhu school, he brought up several examples of departed souls that died with resentment and remained even after carrying out their revenge, and concluded, “even by seeing something from 10 people, by sometimes going along with reason, you can also sometimes see it in ancient Chinese books ( かやうの事つねに⼗⼈なみにあること には待らねども、たまたまはある道理にして、もろ こしの書にもおりおり⾒え待る)". Although it is not
possible to get a hold of smoke with one's hands, by accumulating it and staining one's hand, it is possible to take 5.2 Classics it into one's hands. The spirit ( 気, ki) is the beginning of one's nature, and when the spirit stagnates, the ones that In the collection of fantastic stories, the Ehon Hyaku create a form and produce a voice are called yurei. In the Monogatari from the Edo period, the funayurei that ap- first place, the stagnated spirits of the ghosts desire to fall, pear on the western sea are departed souls from the Taira and disappear. * [16]
17
5.6. FUNAYUREI BY AREA
5.3
Modern examples
stagnate to sea level, but the water on both sides would not move too much, and would form a boundary. Around that boundary, if the boat has a screw propeller, however much one turns it, the energy would merelystir up the water on the boundary, and expended all on creating internal waves, resulting in the boat not moving. In polar regions, ice would melt and float into the middle of sea, creating the same result, which was also recorded by the polar explorer Nansen. In this way, there is a hypothesis that the internal waves accompanied by changes in the salt content, the water temperature, and the hydraulic pressure would obstruct the boat from advancing. * [20]* [21]
In 1954, after the Toya Maru accident, the largest marine accident to occur after the war, the ferryboats that went on commission after the accident were discovered to have a strange scar on their propeller, providing an example of where rumors started to spread about how the victims of the accident turned into funayurei and dug claws into the propellers. * [17] This funayurei appears in sea and on land, and in Nanaehama, Hokkaido, there is a rumor that at midnight, a female would appear completely wet would appear riding in a taxi, who would disappear once one reaches the destination, and who was rumored to be the ghost of Toya Maru.* [17] Also, in Aomori Station, the staff members who slept in the night duty room would 5.6 Funayurei by area wake up at the sound of banging on the glass window, and would see the hand of the completely wet female on the Inadakase The coast of Fukushima Prefecture. They other side, got startled that “Toya Maru's victims were speak to people on ships, saying “lend me an inada pleading for help, ”and the next morning, there would be (hishaku).”An“inada”is a hishaku that is used on * a promissory note remaining on that glass window. [17] boats, if one doesn't open a hole in it before giving it over, it would suddenly fill the boat with water and Also, in 1969, in the sea in Kanagawa Prefecture, one cause it to sink. * [22] would observe a white human figure, hear a voice saying “please give me a hishaku, ”and it was said that the The man in white, the beautiful princess Kowaura, shipwrecked members of the university's yacht club were Minamiise, Mie Prefecture. During storms, it wanting to bail water.* [18] would say “lend me a hishaku”to boats that were too slow to flee and sink the boat. By lending a hishaku with a hole in it, it is possible to flee and return.* [23] 5.4 From the view of folkloristics Murasa Tsumamura, Oki District, Shimane
According to the folkloristician, Hideo Hanabe, funayurei appear in evenings of wind and rain and heavy fog, and also frequently when the weather suddenly worsens, and since the matter that accidents happen more easily adds a sense of reality, and since they also give a feeling of eeriness and unease, some of the strange incidents would be put into a frame of legends, so that phantoms and illusions would be spoken of as reality. The fact that they often appear during Bon makes its image overlap with that of the shōrōbune. However, at its foundation, as ones who are not deified, there is also faith in the spirits of those who have died at sea and float around and turn into funayurei, and in Bon and in New Year's Eve, and other set days, it is forbidden to fish or go to sea, or forbidden to go close to the sea, and a prohibition on breaking these taboos.* [2]
Prefecture (now Okinoshima). Here, what might appear to be noctiluca in the lake is said to be a crystallization of salt, but by staring in there, the thing that spherically solidified while shining is Murasa. By making the boat go over it, the boat would suddenly sink.
Also, there are cases where at night, the sea would suddenly shine with light, but this is due to being possessed by Murasa, and it is said that it effective to attach a sword or knife to the end of a pole and stir the sea several times with it. * [24] Yobashiri Aishima, Abu
District, Yamaguchi Prefecture (now Hagi). By coiling a white sail and making it run forward, it would also run along. By scattering ashes and making a sound, it would disperse.* [14]* [25]
Ugome Hirado, Nagasaki Prefecture and Goshourajima,
5.5
Theories on their true identity
Funayurei aresaid to possess shipsandprevent them from moving,* [19] but they have somewhat been given a scientific explanation in the modern era, and have been determined to be a phenomenon of internal waves. For example, in the area of the ocean that is at the mouth of large rivers, there are areas of water with low salinity, but since water with low salinity is comparatively light, it would
Kumamoto Prefecture, among other areas of Kyushu. It is said that when a boat is possessed, it obstructs the boat's movement, and in Hirado, a sail boat would come chasing even though there is no wind.* [26] In the western coast of Kyushu, it appears as an illusion of a boat or an island. * [27] In order to avoid this, in Hirado, it would be to throw ashes, and in Goshourajima, it would be to say “I'm putting down the anchor ( 錨を⼊れる ぞ)" while throwing a stone, and then throwing the
18
CHAPTER 5. FUNAYŪREI
anchor.* [26] They are also said to disappear if one called “Kikokutan no Kai”(⻤哭灘の怪), and * smokes tobacco. [27] They are also said to appear discolored monsters would attempt to capsize ships while saying “give me an akadori ( 淦取り, a scoop (these are close to the umibōzu). for removing water that gathers at the bottom of a ship), ”and they would sink a ship if one doesn't give them an akadori that has its bottom open.* [27] 5.8 References Mayoibune Onga
District, Fukuoka Prefecture and in the same prefecture Kanezaki, Munakata. On the evening of moonlight nights around the time of Bon, they appear as sailboats at sea. It is said that kaika would appear and people's voices could be heard.* [28]* [29] Kaijō District, Chōshi city, Chiba Prefecture (now Asahi). On days of deep fog andstormy days, it is a funayurei that would appear to fishing boats, and it is said that a spirit of someone who died in a shipwreck is attempting to increase their fellows. A voice would approach the boat saying“mouren, yassa, mouren, yassa, lend me an inaga (モウレン、ヤッサ、モウレン、ヤッ サ、いなが貸せえ ),”and suddenly a hand would come from the sea, saying “give me a hishaku,”but since it would sink the boat if lent a hishaku, it is said that one should thus give a hishaku with its bottom open. “Mouren ”means ghost, and “inaga” means a hishaku, and “yassa”are the encouraging shouts used while rowing a boat. * [30] In the works of the yokai manga cartoonist Shigeru Mizuki, it was written as Mourei Yassan ( 猛霊⼋惨 ),* [31] and in Sakaiminato, Tottori Prefecture, Mizuki's birthplace, a festival has been opened for calming this Mourei Yassan.* [32]
Mouren Yassa ( 亡霊ヤッサ)
Misaki ( ミサキ) Appearing
in Fukuoka Prefecture among other places, they are seen as a kind of Funayurei.* [33]
Namourei In the legends of Kosode, Ube town, Kunohe
[1] Murakami, Kenji, ed. (2000). Yōkai Jiten 妖怪事典. Mainichi Shimbunsha. p. 298. ISBN 978-4-620-314280. [2] Hanabe, Hideo et al. (1987). Nomura, Jun'ichi, ed. Mukashibanashi ・Densetsu Shōjiten ( 話・伝説⼩事 典 ). Mizuumi Shobō. p. 209. ISBN 978-4-8380-3108-5. [3] Kyōgoku, Natsuhiko (2008). Tada, Katsumi, ed. Yōkai Gahon Kyōka Hyakumonogatari (妖怪画本歌百物 語 ). Kokushokankōkai. p. 291. ISBN 978-4-3360-50557. [4] ⾼⽊啓夫 (1978). " 海の怪異". In 溝渕増⺒他編纂. ⾼知県史 民俗編. ⾼知県. pp. 250 ⾴. [5] 多⽥克⼰ (1990). 幻世界の⼈たち. Truth in fantasy IV . 新紀元社. pp. 172 ⾴. ISBN 978-4-91514644-2. [6] 國學院⼤學 ⺠俗学研究会. " ⺠俗採訪通巻昭和 39 年度号⾼知県幡多郡⼤⽉町旧⽉灘村". 怪異・妖怪 伝承ータース. Retrieved 2008-02-14. [7] 漆間元三 (1973). " 海と信仰". In 中沖豊他編. 富⼭ 県史 民俗編. 富⼭県. pp. 306 ⾴. [8] ⼭⼝常助. " 伊予の⺠俗通巻 5 号⾈幽霊やシャクク レ". 怪異・妖怪伝承ータース. Retrieved 200802-14. [9] 佐々⽊正興 (1983). " 憑きもの・妖怪伝承". In 伊賀 貞雪他編纂. 愛媛県史 民俗上. 愛媛県. pp. 830–831 ⾴. [10] 宗優⼦ . " ⾈幽霊 ". 宗優⼦の妖怪ッズ . Retrieved 2008-01-31.
District, Iwate Prefecture, (now Kuji), it is a yokai that appears frequently along with black boats, and [11] 岩井宏實 監修 (2000). ⽇本の妖怪百 2. 河出書房 新社. pp. 32–34 ⾴. ISBN 978-4-3096-1382-6. they make an impossible demand“give me a paddle in times of storms ( 時化 (shike) の時などに櫂 [12] 國學院⼤學⺠俗学研究会. " ⺠俗採訪昭和 30 年度 (kai) をよこせ ),”but it would do no good to reply, 号神津島". 怪異・妖怪伝承ータース. Retrieved or lend them a paddle. * [34] 2008-02-14.
5.7 •
Similar legends outside Japan
According to the Keirin Manroku (桂林漫録 ) (written in Kansei 12), there are writings such as “the ghosts of those who have drowned become ghosts that capsize ships ( 覆溺 (fukuteki) して死せる者 の⻤ (ghosts) を覆⾈⻤ということ)" and “they are seen in writings about yokai overseas ( 海外怪 妖記に⾒たりと)" stating that what are considered funayurei to the Japanese were also written about in China. In China, there are legends of a phenomenon
[13] 國學院⼤學⺠俗学研究会. " ⺠俗採訪通巻昭和 39 年度号⾼知県幡多郡⼤⽉町旧⽉灘村". 怪異・妖怪 伝承ータース. Retrieved 2008-02-14. [14] 瀬川清⼦ (October 1938). " 相島⽇記 (1)". と伝説 (三元社) 11 巻 (10 号（通巻 130 号）): 23–24 ⾴. [15] 多⽥克⼰編 (1997). ⽵原春泉絵本百物語 -⼭⼈ 話 -. 国書刊⾏会. pp. 75 ⾴. ISBN 978-4-336-03948-4. [16] ⽥中聡 (2007). 江の妖怪事 . 集英社新書. 集 英社. pp. 149 ⾴. ISBN 978-4-0872-0398-1. [17] ⼭⼝敏太郎 (2007). 本当にいる⽇本の「代妖怪」図 . 笠倉出版社. pp. 244 ⾴. ISBN 978-4-7730-0365-9.
5.8. REFERENCES
[18] 化野燐 (2008). " 妖怪プロファイリング". In 郡司聡 他編. 怪 . カドカワムック. vol.0024. ⾓川書店. pp. 241 ⾴. ISBN 978-4-04-883992-1. [19] 桜⽥勝徳. " 島通巻昭和九年前期号肥前平島と出 ⽔の⻑島". 怪異・妖怪伝承ータース. Retrieved 2008-02-14. [20] " いくら漕いでも進まない船幽霊の秘密は「内部 波」 ". 海学ール . ⽇本船主協会. Retrieved 2008-02-14. [21] " ⽔の不思議船を⽌める魔物、重い⽔と軽い⽔。". Water Works ⽔のき. 渡辺パイプ株式会社. 2001. Retrieved 2008-02-14. [22] ⺠俗学研究所編著 (1955). 柳⽥國男 監修, ed. ⽇本⺠俗語 第 1 巻. 平凡社. pp. 105 ⾴. [23] " 三重のむかしばなし". 観光三重 : 三重県内の観光 イド . 三重県 観光連盟. Retrieved 2010-09-24.（※ ⾳量注意）
[24] ⽇本⺠俗語 第 4 巻. pp. 1565 ⾴. [25] ⽇本⺠俗語 第 4 巻. pp. 1703 ⾴. [26] 松⾕みよ⼦ (2003). 代⺠話考 . ちくま⽂庫 3. 筑摩 書房. pp. 333–334 ⾴. ISBN 978-4-480-03813-5. [27] 千 葉 幹 夫 (1995). 国妖怪事典 . ⼩ 学 館 ラ イ ブ ラリー. ⼩学 館. pp. 221–222 ⾴. ISBN 978-4-09460074-2. [28] ⽇本⺠俗語 第 4 巻. pp. 1491 ⾴. [29] 櫻⽥勝徳 (August 1932). " 船幽霊など". と伝説 (三元社) 5 巻 (8 号（通巻 56 号）): 22 ⾴. [30] 妖怪事典 . pp. 322 ⾴. [31] 1 週間編集部編 (2006). アニメ版ゲゲゲの⻤太郎 読本 . 講談社. pp. 31 ⾴. ISBN 978-4-06-213742-3. [32] " 猛霊⼋惨⼤明神祭が開催されました". さかなと ⻤太郎のまち境港市観光イド . 境港市. 2004-0322. Retrieved 2009-01-31. [33] 千葉幹夫 (1991). 妖怪お化け学事典 . 講談社. pp. 64 ⾴. ISBN 978-4-06-205172-9. [34] ⺠俗学研究所編著 (1955). 柳⽥國男監修, ed. ⽇本⺠俗語 第 3 巻. 平凡社. pp. 1126 ⾴. •
•
Funayurei Translated funayurei story on Hyakumonogatari.com Iwasaka, Michiko and Toelken, Barre. Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends , Utah State University Press, 1994.
ISBN 0-87421-179-4
19
Chapter 6
The Ghost of Oyuki The Ghost of Oyuki (お雪の幻 Oyuki no maboroshi )
is a painting of a female yūrei, (a traditional Japanese ghost), by Maruyama Okyo (1733–1795), founder of the Maruyama-Shijô school of painting. According to an inscription on the painting, Okyo had a mistress in the Tominaga Geisha house. She died young and Okyo mourned her death. One night her spirit came to him in a dream, and unable to get her image out of his head he painted this portrait. This is one of the earliest paintings of a yūrei (ghost) with the basic late-Edo period ghost characteristics: disheveled hair, white or pale blue robe, limp hands, nearly transparent, lack of lower body.
6.1 •
References
Iwasaka, Michiko and Toelken, Barre. Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends , Utah State University Press, 1994.
ISBN 0-87421-179-4
20
Chapter 7
Goryō This article is about the mythological Japanese spirit. For the Korean dynasty, see Goryeo.
government, it was immediately raised to the first rank of official shrines.* [1]
Goryō (御 霊) [ɡoɽjoː]
are vengeful Japanese ghosts, from the aristocratic classes, especially those who have 7.2 See also been martyred. onryō •
7.1
Description
The name consists of two kanji, 御 (go) meaning honorable and 霊 (ryō) meaning soul or spirit.
•
yurei
•
Bancho Sarayashiki
•
Japanese mythology
Emperor Sutoku Arising mainly in the Heian period, the belief was that “the spirits of powerful lords who had been wronged were capable of catastrophic vengeance, including destruction of crops and the summoning of a typhoon or 7.3 Notes an earthquake.” •
According to tradition, the only way to “quell the wrath [1] Morris, 54. of a goryō" was with the help of a yamabushi, who could “perform the necessary rites that would tame the spirit.” An example of a goryō is the Shinto kami known as Tenjin:
7.4 •
Government official Sugawara no Michizane was killed in a plot by a rival member of the Fujiwara clan. In the years after his death, the capital city was struck by heavy rain and lightning, and his chief Fujiwara adversary and Emperor Daigo's crown prince died, while fires caused by lightning and floods destroyed many of residences. The court drew the conclusion that the disturbances were caused by Michizane's angry spirit. In order to placate him, the emperor restored all his offices, burned the official order of exile, and he was promoted to Senior Second Rank. Even this wasn't enough, and 70 years later he was elevated to the post of Prime Minister, and he was deified as Tenjin-sama, which means “heavenly deity”. He became the patron god of calligraphy, of poetry and of those who suffer injustice. A shrine was established at Kitano. With the support of the
References
Iwasaka, Michiko and Toelken, Barre. Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends , Utah State University Press, 1994.
ISBN 0-87421-179-4
7.5 •
•
21
External links
The image of the Goryō for Japanese families Goryo Shinko - The Religion of Ghosts - An article about the Heian period Goryo religion at hyakumonogatari.com
Chapter 8
Hitodama They are frequently confused with onibi and kitsunebi, but since hitodama are considered to be the “appearance of souls that have left the body and fly through the air, ” they are strictly speaking a different general idea. Concerning their shape and nature, there are common features throughout Japan, but some differences could also be seen depending on the area. They fly crawling along at an elevation that is not very high. They have a color that is blue, orange, or red, and also have a tail, but it can either be short or long. There are also a few that have been seen during daytime. In the Okinawa Prefecture, hitodama are called “tamagai”, and in Nakijin, they are said to appear before a child is born* [3] and in some areas are also said to be mysterious flames that drive off humans to death.* [4] In Kawakami, Inba District, Chiba Prefecture, (now Yachimata), hitodama are called “tamase,”and are said to come out of the body 2 or 3 days after a human dies, and go toward temples or people they have a deep relation with, and are said to make a great sound in storm shutters and gardens, but it is said that this sound can only be heard by those who have a deep relation with the spirit. Also, for those who have not seen a tamase by the time they Hitodama from the Konjaku Gazu Zoku Hyakki by Toriyama are 28 years of age, a tamase would come towards them saying “let's meet, let's meet (aimashou, aimashou)" so Sekien even those who have not seen one when they are 28 years In Japanese folklore, Hitodama (Japanese ⼈魂; mean- old will pretend to have seen one. * [5] ing “human soul”) are balls of fire that mainly float in the middle of night.* [1] They are said to be “souls of the dead that have separated from their bodies, ”* [1] which 8.2 Theories is where their name comes from. According to one theory, “since funerals before the war were burials, so it would be common for the phosphorus 8.1 Summary that come from the bodyto react to the rain water on rainy nights andproduce light, andthe meager knowledge about Hitodama are mentioned in literature from ancient times. science from the masses produced the idea of hitodama. ” In the Man'yōshū, there is the following poem: * [1] Another possibility is that they come from fireflies, of which three species are common in Japan: Luciola cruciWhen you are alone and meet the complete ata (源⽒ホタル, Genji hotaru; meaning „Genji´s firefly blueness of a hitodama, you would naturally “), Luciola lateralis (平家ホタル, Heike hotaru; meaning * think of it as the sorrow [* 1] on a rainy night “firefly from Heike ”), and Colophotia praeusta . All these ̶Man'yōshū (Amasaki book) Chapter snail-eating beetles and their larvae are famous for their 16* [2] ability to make special body parts glow (bioluminescence) 22
23
8.5. SOURCES
and make them blink rhythmically. Every year at the 8.5 Sources Fusa-park in Tokyo the legendary feast Hotarugari (蛍狩 り; meaning“firefly catching ”) is celebrated. They have Karen Ann Smyers: The fox and the jewel: shared also been thought to possibly be misrecognitionsof shootand private meanings in contemporary Japanese ing stars, animals that have luminous bryophytes attached inari worship . University of Hawaii Press, Honolulu to them, gasses that come fromswamps, light bulbs, or vi1999, ISBN 0-8248-2102-5, page 117 & 118. sual hallucinations. There have also been some“artificial Stephen Addiss, Helen Foresman: Japanese ghosts hitodama”created using combustible gases (an experi& demons: art of the supernatural . G. Braziller, Illiment in 1976 by the Meiji University professor, Masao nois 1985, ISBN 978-0-486-99052-1 Yamana using methane gas). •
•
In the 1980s, the Yoshiko Ootsuki posited the idea that they are “plasma from the air.”* [6] However, there are some hitodama that cannot be explained by the above theories, so they are thought to come from various phenomena.
•
•
Lloyd Vernon Knutson, Jean-Claude Vala: Biology of Snail-Killing Sciomyzidae Flies . Cambridge University Press, Camebridge (UK) 2011, ISBN 0-52186785-1, page 24. Chris Philo, Chris Wilbert: Animal spaces, beastly places: new geographies of human-animal relations (= Band 10 von Critical geographies ). Routledge,
8.3 •
Ball lightning
•
Soul
•
Yurei
•
Will-o'-the-wisp
8.4
London/New York 2000, ISBN 0-415-19847-X, page 172–173.
See also
Notes
Translation note
[1] This 葉⾮左 is actually of unknown meaning and pronunciation, but “hahisa”means “sorrow”in Tamil. References
[1] 広辞苑 第五版 p.2255 「⼈魂」 [2] 写真で原典の該当ページを⾒ることが可能。京都 ⼤学附属図書館所蔵 重要⽂化財『万葉集 (尼崎本)』 pp.77-78 [3] ⺠俗学研究所編著 (1955). 柳⽥國男 監修, ed. ⽇本⺠俗語 第 2 巻. p. 894. [4] ⾼橋恵⼦ (1998). 沖の御ことば辞典 . ボーダー インク. pp. 61–63. ISBN 978-4-938923-58-7. [5] ⻫藤源三郎 (October 1935). " ⼈魂に就いて". と 伝説 (三元社) 8 巻 (10 号（通巻 94 号）): 46–47. [6] ⼤槻義彦 (1986).「の（ダマ）」の⼈魂の正 をて 40 年学とロマンの戦記 !. ⼆⾒ブッ クス. ⼆⾒書房. p. 257. ISBN 978-4-576-86129-6.
8.6 •
External links
Hitodama at The Obakemono Project
Chapter 9
Ikiryō transforming into their ikiryō form. It is believed that if a sufficient grudge is held, all or part of the perpetrator's soul leaves the body, appearing in front of the victim to harm or curse them, a concept not so dissimilar from the evil eye. The ikiryō has even made its way into Buddhist scriptures, where they are described as “living spirits”who, if angered, might bring about curses, even just before their death. Possession is another means by which the Ikiryō are commonly believed to be capable of inflicting harm, the possessed person thought to be unaware of this process. * [4] However, according to mythology, the ikiryō does not necessarily act out of spite or vengefulness, and stories are told of the ikiryō who bears no grudge, or poses no real threat. In recorded examples, the spirit sometimes takes possession of another person's body for motives other than vengeance, such as love and infatuation (for example the Matsutōya ghost below). A person's ikiryō may also leave thebody (often very shortly before death) to manifest its presence around loved ones, friends and/or acquaintances. * [2]
“ Ikiryō" (⽣ 霊 ) from the " Gazu Hyakki Yagyō " by Sekien
Toriyama Ikiryō, or shōryō, seirei , ikisudama (⽣霊, lit. “living
ghost,”"eidolon"), in Japanese popular belief and fiction, refers to a spirit that leaves the bodyof a living person and subsequently haunts other people or places, sometimes across great distances. * [1]* [2]* [3] The term(s) are used in contrast to shiryō , which refers to the spirit of those who are already deceased.
9.1
Summary
9.2
Classical literature
In classical literature, The Tale of Genji (ca. 1100) describes the “well known ”episode of the ikisudama (the archaic form of ikiryō ) that emerged from Genji's lover Lady Rokujo, and tormented Genji's pregnant wife Aoi no Ue, resulting in her death after the successful delivery of her son. * [6] This spirit is also portrayed in Aoi no Ue, the Noh play adaptation of the same story. After her death, Lady Rokujo became an onryō and went on to torment those who would later become Genji's consorts, Murasaki and Onna-sannomiya (ja).* [6] In the Heian period, a human soul leaving a body and drifting away is described by the old verb “akugaru” meaning “departure”. In The Tale of Genji , the mentally troubled Kashiwagi fears that his soul may be found wandering (akugaru), and requests that last rites are performed on his body to stop his soul from escaping if this should happen.* [7]* [8]* [9]* [10]* [11]* [12] and by Murakami* [11]* [lower-alpha 1]
The popular belief that the human spirit (or soul) can escape from the body has been around since early times, with eyewitness accounts and experiences (hauntings, possessions, out-of-body experience) reported in anecdotal and fictional writings. Vengeful spirits ( 怨霊 onryō ) of the living are said to inflict curses ( 祟り tatari ) upon the subject or subjects of their vengeance by means of In the medieval collection Konjaku Monogatarishū is the 24
25
9.3. FOLK LAW
tale of “How the Ikiryo Spirit of Omi Province Came and Killed a Man of the Capital. ”It describes how a commoner traveling out of Kyoto agrees to act as guide for a noblewoman at the crossroads, and leads her to the house of a certain Senior Assistant Minister of Popular Affairs (⺠部⼤夫 Minbu-no-tayū) in the capital. Unbeknownst to the man, the woman turned out to be the ikiryō of the wife the official had abandoned. Upon reaching the house, the lady promptly vanished before the man's eyes, even though the gates were shut. Wailing noises were then heard from inside the house. The following morning, the guide learned that the master of the house complained of the presence of his former wife's ikiryō , and claimed it was causing his illness, which short led to hislater death. The guide later sought out thelady's house in Ōmi Province. There a woman spoke to him through blinds, acknowledging the man's services that day, and showering him with gifts of silk cloth. * [13]* [14]* [15] The ikiryō can also possess the object of its infatuation, rather than its love-rival. The essay collection Okinagusa (翁草) records“Matsutōya yūrei”, a tale allegedly based on events in Kyōhō 14 or 15 (1729–30), whereby a Kyoto merchant named Matsutōya Tokubei (松任屋徳兵 衛) had a teenaged son named Matsunosuke possessed by the spirit of two women who loved him, and who tormented the boy's conscience. On occasion, he would be suspended in mid-air, engaging in conversation as if the girls were presentbefore hiseyes, theikiryō's wordsbeing spoken through the boy's lips. Finally the family sought help from a renowned priest named Zōkai, or Zōkai Etan (象海慧湛 1682-1733). The priest successfully exorcised the boy and cured his condition, but rumors had already spread regarding the incident. * [16]* [17]
but it turns out to be (or has transformed into) the animated, severed head of the woman. When the face grins at him, he attacks with a sword, and chases it to a home in the capital of the province. Inside the house, the housewife transforms from this nightmare being, but is still being chased by the man, who is brandishing a blade, leading to the consequential awakening of her husband. The wandering head was, according to the title, the woman's monen (妄念), or her waywardthoughtsor obsession (that strays from thetenetsof Buddhism). Thewoman later becomes a nun to repent for her sins. * [1]* [18]* [19]* [loweralpha 2]
9.3 9.3.1
Folk Law Regional near-death spirits
Sightings of ikiryō belonging to those whose deaths are imminent have been recorded from all over Japan. Stories abound of spirits that materialize (or otherwise manifest their presence) to someone dear to them, * [20] such as immediate family. The recipient of the visit experiencing a metaphysical foreshadowing of this person's death, before any tangible news of bereavement arrives. Many of the local terms for the ikiryō were collected by Kunio Yanagita and his school of folklorists.:* [loweralpha 3] In the tradition of the Nishitsugaru District, Aomori Prefecture, the souls of the person/s on the brink of death are called amabito, and believed to depart from the body and walk around, sometimes making noises like that of the door sliding open. * [20]* [21] According to Yanagita, tobi-damashi ( ⾶びだまし) is the equivalent term to the Senboku District, Akita region. Yanagita defines this as the ability of certain persons to traverse the world in their Ikirȳo form. Such individuals are purported to have voluntary control of this ability, in contrast to those who are only temporarily capable of tapping into such a state as a precursor to their death.* [20]
In the Kazuno District in Akita Prefecture, a soul that pays visit to acquaintances is called an omokage ( ⾯影 〔オモカゲ〕) “reminescence, lingering shadow ”, and assumes the form of a living human, that is to say, it has “ Onna no Mōnen Mayoiaruku Koto”(⼥の妄念ひく事 ) feet and make pitter-patter noises, unlike*the stereotypical Japanese ghost that have no legs or feet. [22]* [23] from the “ Sorori Monogatari ”(曾呂利物語 )* [18] The horror story (kaidan) collection Sorori Monogatari (曾呂利物語) (published Kanbun 3, or 1663) includes a tale of a woman whose ikiryō assumed the shape of her severed head (cf. the yōkai monster known as nukekubi ). One night, a man traveling towards Kyoto arrives at place called Sawaya in Kita-no-shō, Echizen Province (now Fukui City), where he mistakedly thinks he saw a chicken fly from the base of a nearby stone tower on to the road,
Yanagita in Tōno monogatari shūi reported that in the Tōno Region, Iwate Prefecture,“thethoughts of the dead or the living coalesce into a walking shape, and appear to the human eye as an illusion is termed an omaku in this region.”An example being a beautiful girl aged 16 or 17, critically ill with a case of "cold damage" ( 傷寒 shōkan) (Typhoid fever or a similar disease). She was seen wandering around the construction site of the Kōganji temple rebuild project in Tsujibuchi, Iwate (ja), the days before
26
CHAPTER 9. IKIRYŌ
her death.* [22]* [24]* [25]* [26] In Kashima District, Ishikawa on the Noto Peninsula, a folklorist recorded belief in the shininbō ( 死⼈坊 ), said to appear 2 or 3 days before someone's death, which was seen passing through on itsvisitsto danna-dera (Thefamily temple, also called bodaiji ). The temple was believed to be the soul's final resting grounds, where one finds a place amongst their ancestors.* [23]* [27]* [28] Soul flames
For more details on this topic, see hitodama and hidama. There are cases where the wandering ikiryō appear as a floating“soul flame”, known in Japan as the hitodama or hidama.* [lower-alpha 4] However, a“soul flame”from a person who is near death is not considered unusual, wity the traditional conception among Japanese being that the soul escapes the body within a short phase (several days) either before or after death.* [29] Therefore, pre-death soul flames may not be treated as cases of ikiryō in works on the subject of ghosts, but filed under chapters on the hitodama phenomenon.* [30]* [lower-alpha 5]
Rikonbyō ( 離魂 病 ) from the Kyōka Hyaku Monogatari illustrated by Masasumi Ryūkansaijin. The woman on the left is af flicted by the “ soul separation illness ” , and her ikiryō appears next to her.
ternately written as kage-no-wazurai (カ ゲ ノ ワ ズ ラ イ).* [32]* [33]
This affliction is treated as an instance of ikiryō by folklorist Ensuke Konno in his chapter on the topic. * [32] The case study example is that of Yūji Kita, doomed by One case of a near-death hitodama deemed 'suitable for the kage no yamai for three generations in succession, discussion' under the topic of ikiryō by a folklorist closely recorded in the Ōshu banashi (奥州波奈志, “Far North resembled the aforementioned tale of the woman's head Tales”) by Tadano Makuzu (d. 1825). in the “Sorori Monogatari”, namely, that the subject The identical double might be seen by the sufferer or be who witnessed the soul's apparition pursued it ruthlessly, witnessed by others, and can be classed as a doppelgänger until he discovered the owner of the soul, who claimed phenomenon. * [34] Others have reported a sort of outto have seen the entire experience of being chased durof-body experience, whereby their consciousness inhabits ing a dream. The subject worked at the town office of theikiryō to see their own lifeless body. * [35] Tōno, Iwate, and one night, he reported seeing an hidama emerge from a stable and into the house's entrance where it was 'flying around'. He claimed to have chased it with a broom, and trapped it beneath a washbasin. A while 9.4 Similar activity or phenomena after, he was rushed out to see his sick uncle on the brink of death, but he made sure to release the fireball The ushi no koku mairi (丑の刻参り ) is, when one, inthe from its trapping. He soonlearned that his uncle had only hour of the ox (1AM to 3AM), strikes a nail in a sacred just passed away, but his uncle came back to life again, tree, and thus becomes an oni while alive, and using these enough so to accuse the nephew of the of chasing him oni powers, would inflict curses and calamity upon a rival. with a broom and capturing him.* [31] Similarly, the folk- Although many ikiryō generally are spirits of humans that lore archives of Umedoi, Mie Prefecture (now part of leave the body unconsciously and move about, deeds akin Inabe) tells a tale about a band of men who, late in the to performing magic rituals and intentionally tormenting night, spotted and chased a fireball into a sake warehouse, a target can also be interpreted as ikiryō.* [35] In the same waking a maid who was asleep inside. Themaid later pro- way, in the Okinawa Prefecture, performing of a magic fessed to being “pursued by many men and fleeing”to ritual with the intention of becoming an ikiryō is termed take refuge in the warehouse. * [1] ichijama (ja).* [36]* [37] 9.3.2
Ikiryō as an illness
During the Edo period, there was a belief that there was a condition called rikonbyō ( 離魂病) “soul separation illness ”, whereby the soul would not just separate from the body, but assume the shape and appearance of the sufferer. The condition was also known interchangeably as shadow-sickeness ( 影の病 kage no yamai ), al-
9.5 •
•
•
See also
Astral projection Out of body experience Doppelgänger
27
9.5. SEE ALSO
•
Fetch (folklore)
•
Soul
9.5.1
Explanatory notes
[11] Murakami, Kenji (村上健司) (2005), Nihon yōkai dai jiten ⽇本妖怪⼤事典 [The Great Yokai Encyclopedia of Japan], Kwai books (in Japanese), Kadokawa, pp. 24–25, ISBN 978-4-04-883926-6 [12] Konno 1969, pp. 66–67
(2003), The [1] Another example of this term occurs in the verse by the [13] Dykstra, Yoshiko Kurata (tr.), ed. Konjaku Tales: From a Medieval Japanese Collecpoet Izumi Shikibu which depicts the author's soul as a tion. Japanese section (Intercultural Research Instiwandering firefly: “While I am rapt in thought, / The tute, Kansai Gaidai University Publication) 3: 95-, fireflies of the marsh would seem to be / My soul, caught ISBN 4873350263 http://books.google.com/books?id= up and wandering / Forth out of me. ”(Goshūi Wakashū, M3IqAQAAIAAJ |url= missing title (help) |chapter= igTale 20). nored (help) [2] Original source story title is Onna no maunen mayohi [14] Haga, Yaichi ( 芳 賀 ⽮ ⼀), ed. (1921), Kōshō konjaku ariku koto (⼥のまうねんまよひありく事) monogatari shū (in Japanese), 3 (下): 367– http://dl. ndl.go.jp/info:ndljp/pid/945416 |url= missing title (help) [3] Whilst terms such as tobi-damashi or omokage, Akita, or |chapter= ignored (help) shininbō are used in the Ishikawa Prefecture in isolated cases, these terms are not frequently used anywhere else[15] Konno 1969, pp. 93–96: subchapter Otto wo torikowhere. roshita aoginu no onna (夫を取り殺した⻘⾐の⼥)“A woman in blue garment who possessed and killed her hus[4] A hidama, the Japanese equivalent to the will-o'-the-wisp band”(Japanese) (or generically "atmospheric ghost lights") [5] Konno 1969, pp. 44–46 describes cases of floating [16] Kanzawa, Teikan/Tokō ( 神 沢 貞 幹/神 沢 杜 ⼝ 17101795), ed. (1906). “Book 56 Matsutōya yūrei”. Okina balloon-like objects of yellow color (iridescent colored, 翁草 6. 池辺義象 (revised). Gosharō shoten. pp. gusa according to Konno) an omen of death. The locals in the 66–7. Shimokita District, Aomori refer to the object as tamashi (タマシ) “souls”, the same term in common usage by locals in Komena hamlet, in the town of Ōhata. On the [17] Iwaya, Sazanami (1935), Dai goen 第語 (in Japanese) 8: 90 day after a sighting of one heading towards the mountains (Mount Osore) on April 2, 1963, a boy died in the hospital from injuries he sustained falling off a bridge while [18] Takada 1989, pp. 13–15 (Japanese) double-riding a bicycle. [19] Yuasa, Yoshiko (湯 浅 佳 ⼦) (2009). 『 曾 呂 ⾥ 物 語』の類話[A Study of a similar story of “SORORIMONOGATARI"]. Bulletin of Tokyo Gakugei University, 9.5.2 Citations Humanities and Social SciencesI (in Japanese) 60 : 307– 309. ISSN 1880-4314. [1] Ikeda 1959, pp. 186–190 (Japanese) [20] Yanagita, Kunio (1970), “Chapter 77”, About Our An[2] Konno 1969, Chapter 3 (Ikiryō no yūri ) , pp. 63–98 cestors: The Japanese Family System, Fanny Hagin Mayer (Japanese) (tr.), Greenwood Press, p. 171, There are also many instances reported, especially when facing death, of men [3] Clarke, Peter Bernard (2000), Japanese new religions: in materialising in front of a chosen loved one or associate. global perspective, Volume 1999 (annotated ed.), RoutIn Senhoku-gun such people are called amabitoand indiledge, p. 247, ISBN 978-0-7007-1185-7 viduals who can 'fly anywhere in their dreams' are called tobi-damashi [flying soul], the same term used in Tsug[4] Kojien dictionary* [5] (Japanese) aru,.. [5] Shinmura, Izuru (新村 出), ed. (1991). Kojien [ Kojien] [21] Konno 1969, pp. 67, 68 (4th ed.). Iwanami. p. 122. ISBN 978-4-00-080101-0. [6] Konno 1969, p. 69
[22] Ōtō 1955, pp. 46–293
[7] Bargen, Doris G. (1997). A Woman's Weapon: Spirit Pos- [23] Konno 1969, Chapter 4, pp.100–105 session in The Tale of Genji . University of Hawaii Press. [24] Yanagita, Kunio (2004) [1948]. “Tōno monogatari supp. 166. ISBN 082481858X. plements 遠野物語拾遺, Tale 160”. Tōno monogatari * (in Japanese). Kadokawa. pp. 146–151. ISBN 978-4-04[8] Kojien dictionary, [5] akugaru, sense 2. 308320-6. [9] Miyamori, Asatarō (ed. tr.) (1956). Masterpieces of Japanese Poetry: Ancient and Modern 1 . Taiseido Shobo [25] Konno 1969, pp. 81, 82, citing Yanagita, Tōno Mono gatari Company. [10] Konno 1969, pp. 66–67
[26]“lower-alpha”
28
CHAPTER 9. IKIRYŌ
[27] Nakamura, Hiroshi (中村浩) (1929).“Noto tō saihōroku 能登島採訪録". Minzokugaku 1 (2): 42–44., cited by Konno 1969, Chapter 4, pp. 103–104
•
Yōkai gahon: kyōka hayakumonogatari 妖怪画本 歌 百 物 語 [Yōkai picture book: satirical waka version Hyakumonogatari ]. Kokusho kankōkai (ja).
[28] International Research Center for Japanese Studies (2002). “Shininbō シニンボウ". Kaii & yōkai denshō database (in Japanese). [29] Konno 1969, Chapter 2 Hitodama kō , p.38
ISBN 978-4-3360-5055-7. •
[30] Konno 1969, Chapter 2 Hitodama kō , pp.37–62) [31] Konno 1969, p. 75), citing Tōno monogatari •
[32] Konno 1969, pp. 12, 64–66)
Tada, Katsumi (多 ⽥ 克 ⼰) (2008). “Chapter: Yōkai soran 妖怪総覧". In Natsuhiko Kyogoku.
Takada, Mamoru (⾼⽥衛), ed. (1989). “Sorori monogatari 曾呂利物語". Edo Kaidanshū 江怪 談集 [Edo ghost story collection] 2. Iwanami. ISBN 978-4-00-302572-7. Visser, Marinus Willem de (1935). Ancient Buddhism in Japan 1 . Leiden: E.J. Brill.
[33] Hearn, Lafcadio (1905), The Romance of the Milky Way: And Other Studies & Stories , Houghton, Mifflin, pp. 60 (Ancient Buddhism In Japan) –64 [34] Hearn 1905, p. 61 [35] Tada 2008, p. 283 (Japanese) [36] Uezu, Hitoshi (上江洲均) (1994) [1972]. Ōtsuka minzoku gakkai, ed. Nihon minzoku jiten ⽇本⺠俗事典 [Japanese folk encyclopedia] (Pocket ed.). Kōbundō (ja). p. 41. ISBN 978-4-335-57050-6. [37] Shimabukuro, Genshichi (島 袋 源 七) (1974) [1929]. “Sangen no dozoku ⼭原の⼟俗". In Ikeda Yasusaburō (ja) et al. Nihon minzokushi taikei 1 . Kadokawa. p. 373. ISBN 978-4-04-530301-2.
9.6 •
•
•
References
Ikeda, Yasusaburō ( 池⽥彌三郎) (1978) [1959]. Nihon no yūrei ⽇ 本 の 幽 霊 [Ghosts of Japan]. Chuokoron. ISBN 978-4-12-200127-5. Ōtō, Tokihiko (⼤藤時彦) (1955). ⺠俗学研究 所, ed. Sōgō nihon minzoku goi ⽇本⺠俗語 [Sogo Japanese folk vocabulary ] 1. 柳⽥國男 (supervising editor). Heibonsha. BN05729787. Konno, Ensuke ( 今野円輔) (2004) [1969]. Nihon kaidanshū; yūrei hen [Japanese kaidan collection: ghosts ] (snippet) 1. Chuokoron-Shinsha. ISBN9784-12-204464-7. •
•
•
•
Chapter 1 Sugata naki maboroshi ( 姿なきマ ボロシ ) “Phantasm without visible form”, pp. 11–36 Chapter 2 Hitodama kō (⼈魂考) “Thoughts on the soul flame”, pp. 37–62 Chapter3Ikiryōnoyūri( ⽣霊の遊離)“Peregrination of the living soul”, pp. 63–98 Chapter 4 Tamashī no wakare ( たましいの 別れ ) “Souls bidding farewell ”, pp. 100– 125
Chapter 10
Inugami For other uses, see Inukami (disambiguation). the evoker is perfectly trained, he can order his Inugami Inugami (⽝神, lit. “dog god”) is a class of being from to possess humans and manipulate them. The victim is often forced to kill itself or other people, or to act like a lunatic. But Inugami are also said to be very dangerous for the evoker himself: since the Inugami´s soul is blinded by its desire for revenge and its unstoppable rage, the Inugami can quickly escape the master´s control and kill his own evoker. Families that keep Inugami in their household are called Inugami-mochi (meaning“Those who have a dog-god as a pet”). It´s tradition within these households that family members always marry members from other Inugamimochi only.
10.3
The inugami as depicted in Sawaki Suushi's Hyakkai-Zukan.
Japanese mythology, which is similar to the Shikigami and who belongs to the range of the spirits, the Kami.
10.1
Description
•
•
•
10.2
Web infos about Inugami at obakemono.com (English)
10.4
Japanese folklore describes Inugami as zoomorphic or anthropomorphic, dog-like beings, often similar to werewolves. They are masters of black magic.
Traditions •
Folklore has it that Inugami can be conjured from a complex and cruel ceremony: A common pet dog must be buried up to his neck, only the head remains free. Then a bowl with food or water must be placed close but in unreachable distance before the snout of the dog. Several days after that, when the dog is about to perish and tortured by hallucinations, his head must be severed and buried beneath a noisy street. After a certain time, head and body must be placed in a well prepared shrine. Now an Inugami can be evoked.
•
•
External links
Sources
Takeshi Abe, Adam Beltz: The Negima Reader: Secrets Behind the Magic . DH Publishing Inc, 2007, ISBN 1932897240, page 49–51. Stephen H. Sumida: And the View from the Shore: Literary Traditions of Hawaiʻi . University of Washington Press, 1991, ISBN 0295970782, page 228. Moku Jōya: Mock Jōya's Things Japanese. Japan Times, Tokyo 1985, page 408–412. Herbert E. Plutschow: A reader in Edo period travel . Global oriental, 2006, ISBN 1901903230, page 16– 19. Michaela Haustein:
Mythologien
der Welt:
Japan, Ainu, Korea epubli, Berlin 2011, ISBN
3844214070, page 19. •
Similar to Shikigami , possessed paper mannequins, Inugami are evoked for criminal activities, such as murdering, kidnapping and mutilation of the victims. If 29
Keiko I. McDonald: Reading a Japanese Film: Cinema in Context . University of Hawaii Press, Honolulu 2006, ISBN 082482993X, page 11.
Chapter 11
Kuchisake-onna Woman” Kuchisake-onna ( ⼝裂け⼥, “Slit-Mouthed Woman
may encounter a woman wearing a surgical surgical mask, which ) is a figure appearing in Japanese urban legends. legends . She She is not an unusual sight in Japan as people wear them to is a woman who was mutilated mutilated by by her husband, and re- protect others from their colds or sickness. turns as a malicious a malicious spirit. spirit . When rumors of alleged sightsight- The woman will stop the child and ask, “Am I pretty?" ings began spreading in 1979 around the Nagasaki the Nagasaki Pre- If the child answers no, the child is killed with a pair of fecture,, it spread throughout Japan fecture throughout Japan and and caused panic in scissors which which the woman carries. If the child answers answers many towns. There are even reports of schools allowing yes, the woman pulls away the mask, revealing that her children to go home only in groups escorted by teachers mo mout uthh is sl slit it fro rom m ea earr to ear ear, and asks“How about about now?" now?" for safety,* [1] [1] and and of police increasing their their patrols. Re- If the child answers no, he/she will be cut in half. If the cent sightings include many reports in South in South Korea in Korea in the child answers yes, then she will slit his/her mouth like year 2004 about a woman wearing a red mask who was hers. hers. It is impossible impossible to run away away from from her, as she will frequently seen chasing children, and, in October 2007, a simply reappear in front of the victim. coron coroner er found ound some some old old record recordss fromthe rom the late late 1970s 1970s about about a woman who was chasing little children. She was then When the legend reappeared, the 1970s rumors of ways escape also emerged. emerged. Some sources say she can also also be hit by a car, and died shortly after. after. Her mouth was ripped to escape confused by the victim answering her question with amfrom from ear to ear.* [2] biguous biguous answer answers, s, such as“You are avera average ge”or“So-so”. Unsure Unsure of what to do, she will give a person enough time to escape while while she is lost in thought. thought. Another Another escape escape 11.1 The moder modern n urban urban legen legend d route route is to tell tell her her one one has a prev previo ious us engag engagem emen ent;t; she she will will pardon her manners and excuse excuse herself. herself. In some variations of the tale, she can be distracted by fruit by fruit or or candies candies Kuchisake-onna ( 口裂け女) thrown at her which she will then pick up, thus giving the Conversation Diagram victim a chance to run. She will also be at an advantage to run toward you if she has the chance. * [3] [3] Another Another way is for the child to ask her if the child is pretty; she will get Asks: "Am I pretty?" confused and leave. * [4] No
Yes Yes
Kills you with scissors.
Takes Takes off mask. mask. Asks: "How about now?"
11.2 11.2
In popu popula larr cult cultur uree
11.2.1 11.2.1
Live Live acti action on
•
No
Cuts you in half.
Yes
•
•
Slits your mouth so it appears like hers.
•
Diagram of likely conversations with Kuchisake-onna Kuchisake-onna according to the modern legend.
•
According According to the legend, children walking alone at night 30
Kuchisake-onna (Video, 1996) Kannô byôtô: byôtô: nureta nureta akai kuchibiru kuchibiru aka The SlitMouthed Woman (2005)
aka A Slit-Mouthed Woman aka Kuchisake Carved aka onna (2007) Kaiki toshi-densetsu - Kuchisake-onna (2008) Kuchisak Kuchi sake-O e-Onna nna 2 The Sci Scisso ssors rs Ma Massa ssacr cree aka Carv Carved ed 2 aka A Slit Slit-M -Mou outh thed ed Woman oman 2 aka Kuchisake-onna 2 (2008)
31
11.4. REFEREN REFERENCES CES
•
•
•
The Slit-Mo Slit-Mouth uthed ed Woman oman 0: The Beginnin Beginningg aka Kuchisake-onna 0: Biginingu (2008)
•
La Llorona
•
Onryō,, a malicious ghost in Japanese folklore Onryō
•
Teke Teke, Teke, another malicious malicious Japanese spirit.
Kuchisake-onna Returns (2012) Constantine, in episode 5, Danse Vaudou Vaudou •
•
Mamma mia Kara, mia Kara, stupid Gyuri
11.2.2 11.2.2
Manga Manga and anime anime
•
Kuchi-sake Onna
•
Kuchisake Onna Densetsu
•
The Kuchisake Onna was mentioned in an episode of " Detective Detective Conan" Conan "
11.2.3
Other Other appearan appearances ces
The Kuchisake-onna Kuchisake-onna also makes an appearance in:
•
Japanese urban legends legends Vengeful ghost
11.4 11.4
Ref Referen erence cess
[1] Severed Mouth Woman on Woman on YouTube YouTube [2] http://www.terrorsofmen.com/3159/kuchisake-onna [3] “Have you heard the one about …?: A look at some of Japan's Japan 's mor moree endu enduring ringurba urbann lege legends nds”. JapanTimes . June 7, 2005. [4] Yoda, H & Alt, M. (2008)“Yokai Attack! The Japanese Monster Survival Guide”Kodansha Internation [5] http://www.liveleak.com/view?i=37e_1178742040
•
Hell Teacher Nube
•
Hanako to Guuwa no Tera
•
(includ ludes es a short short parod parodyy of the Franken Franken Fran Fran (inc Kuchisake-onna legend in an extra of Volume 2)
•
•
•
Toshi Densetsu (Includes the Kuchisake-onna)
Ghost Stories (The Kuchisake-onna Kuchisake-onna was planned to make an appearance in episode 5 of the series, but it was banned after several complaints that her disfigurement looked too much like a cleft palate.) * [5] splitt person personal ality ity of chara characc Danganronpa The spli ter Touko Touko Fukaw Fukawa, a, the scissors scissors wielding wielding serial serial killer Genocider Syo, was most likely inspired by Kuchisake-onna.
•
The episode “Danse Vaudou”of Constantine, features tures the ghost ghost of a supe supermo rmode dell who who rece receiv ived ed simil similar ar scars and goes after people in a similar way to the Kuchisake-onna
Kuchisake-onna is mentioned in Darlah – 172 timer på månen (aka 172 Hours on the Moon ), a 2008 sci-fi/horror novel by Johan by Johan Harstad. Harstad.* [6] Kuchisake-onna Kuchisake-onna is also mentioned in the Japanese visual novel Rewrite.
11.3 11.3 •
•
See See also also
Bloody Mary, Mary, a similar apparition in western urban legends. Glasgow smile
[6] Harstad, Johan (2012). Johan (2012). 172 Hours on the Moon . Trans. Tara F. Chace. Little, Brown and Company. Company. ISBN 9780-316-18288-1.. LCCN 2011025414. 0-316-18288-1 2011025414.
11.5 11.5
Exte Extern rnal al link linkss
•
Kuchisake Onna Urban Legend
•
the Internet Movie Database Kuchisake onna at the Internet
•
Kuchisake-onna (Japanese) Kuchisake-onna (Japanese)
•
•
Tales of Ghostly Ghostly Japan, Japan, Japanzine Histoire de Kuchisake Onna (French) Onna (French)
Chapter 12
Mujina 12.2 12.2
In folkl olklor oree
“ Mujina Mujina ” from from the Wakan the Wakan Sansai Zue
old Japanese term term primarily referring Mujina ( 貉) is an old Japanese to the badger the badger.. In some regions regions the term refers refers instead instead to the raccoon the raccoon dog (also dog (also called tanuki ) or to introduced civets.. Adding to the confusion, civets confusion, in some regions badger- “ Mujina Mujina ” from from the Konjaku Gazu Zoku Hyakki by Sekien like animals are also known as mami , and in one part of Toriyama Tochigi Prefecture badgers Prefecture badgers are referred to as tanuki and and raccoon dogs are referred to as mujina. In Japanese folklore, like the fox the fox and and the tanuki the tanuki,, they are frequently depicted as a yōkai yōkai that that shapeshifts shapeshifts and and deceives ceives humans. humans. They They are first seen in literature literature in the 12.1 12.1 In real realiity Nihon Shoki in Shoki in the part about Empress about Empress Suiko's Suiko's 35th year (627), where it states, “in two months of spring, there Theco The conf nfusi usion on over over theter the term m mujina has led led to legal legalco conse nse-- are mujina in the country of Mutsu ( 春 2 ⽉、陸奥 quences in Japan. In Tochigi Prefecture in 1924 a hunter 国 に 狢 有 り), they turn into humans and sing songs killed killed a raccoo raccoonn dog, dog, which which he beli believ eved ed to be call called ed a mu- (⼈ と な り て 歌 う),”showing that in that era, there believed that badgers were a protected species species was already the general idea that mujina shapeshift and jina. He believed as they were called tanuki in in Tochigi Tochigi Prefecture. Prefecture. How- deceives humans. * [1] [1] In In the Shimōsa the Shimōsa region, region, they are ever, the law banning the hunting of tanuki was was referring called kabukiri-kozō (かぶきり⼩僧), and they would to such raccoon dogs, as a raccoon dog is called tanuki shapeshift into a kozō (little monk) wearing a strangely in Tokyo. Tokyo. The Japanese Japanese Supreme Supreme Court ruled ruled that the short kimono with a kappa-like bobbed head, and frehunter was legitimately confused and he was judged not quently appear on roads at night without many people guilty. and say, “drink water, drink tea ( ⽔飲め、茶を飲め).” 32
33
12.6. REFERENCES * [2] Thestory in Lafcadio Hearnkaidan collections called
•
“Mujina ”* [3] about the witnessing of a faceless ghost (a
noppera-bō) is also well-known.
12.3
Sightings in Hawaii
On May 19, 1959, Honolulu Advertiser reporter Bob Krauss reported a sighting of a mujina at the Waialae Drive-In Theatre in Kahala. Krauss reported that the witness watched a woman combing her hair in the women's restroom, and when the witness came close enough, the mujina turned, revealing her featureless face. The witness was reported to have been admitted to the hospital for a nervous breakdown. Noted Hawaiian historian, folklorist and author Glen Grant, in a 1981 radio interview dismissed the story as rumor, only to be called by the witness herself, who gave more details on the event, including the previously unreported detail that the mujina in question had red hair. * [4] The drive-in no longer exists, having been torn down to make room for Public Storage. Grant has also reported on a number of other mujina sightings in Hawaii, from ʻEwa Beach to Hilo.
12.4
Other uses
The term can also refer to the following: •
"Mujina", a short story relating to the above legends, found in Lafcadio Hearn's book Kwaidan: Stories and Studies of Strange Things
•
Mujina-no-yu is an onsen facility in Nasu, Tochigi, Japan
12.5 •
See also
Folklore in Hawaii
12.6
References
[1] 笹間良彦 (1994). 図説・⽇本認⽣物事典 . 柏書 房. pp. 120 ⾴. ISBN 978-4-7601-1299-9. [2] ⼩川景 (November 1939). " 妖怪其他". ⺠間伝承 (⺠ 間伝承の会) 第 5 巻 (第 2 号): 9. [3] Monsters You Never Heard Of!: THE MUJINA by Michael D. Winkle. Accessed 3/7/08 [4] THE FACELESS WOMAN MUJINA. Source: B. Krauss, “Faceless Ghost”. Accessed online 03/07/08 Notes
•
•
de Visser, M. W. (1908). “The Fox and the Badger in Japanese Folklore ”. Transactions of the Asiatic Society of Japan 36 : pp. 1–159. Retrieved 200612-14. Casal, U. A. (1959). “The Goblin Fox and Badger and Other Witch Animals of Japan”. Folklore Studies 18: pp. 1–93. doi:10.2307/1177429. JSTOR 1177429. Hearn, Lafcadio; Oliver Wendell Holmes (1904). Kwaidan: Stories and Studies of Strange Things . Houghton, Mifflin and company. pp. 77–80.
Chapter 13
Ochimusha Ochimusha ( 落ち武者)
is the ghost of a warrior that during the conflict flees the battlefield, “ochi”literally means “rebel remnants of a defeated faction ”and " musha”means warrior, meaning defeated warriorthat fled the enemy.
used in regard to a candidate caught cheating an election or to corrupt politicians that have been arrested. Sometimes the term is also used to refer people with a bald top head and stretched hair on the sides.
The ochimusha is considered a low-class, no longer at the level of a samurai, since he fled battle instead to commit 13.3 In popular culture seppuku. In some instances, is said that to escape safely those warriors get to hide themselves in villages at moun Ochimusha is the name of 1925 movie by Hiroshi tainous areas. Shimizu According to the folklore to became an Ochimusha the "The Ochimusha - Doemu Samurai Toujou" is a warrior should be killed by farmers looking for his be2007 Japanese action game, developed by Tamsoft longings and to take the reward usually offered for the and published by D3 Publisher. decapitated head of enemies during the Sengoku period.* [1] Ochimusha is a low-level warrior-type monster in .hack game. Instead of only occurring during battle times, samurais andaristocrats whosesupport is no longer neededcan also Ochimusha Kote (Ochimusha gloves) an in game became an Ochimusha, if attacked by the townspeople item in Final Fantasy XI. of the region under their protection. There are tales of samurai mansions being plundered. One of the antagonist in the manga Mob Psycho 100 at one point loses his head top hair, and claims that Is also subject to ochimusha a crimminal that goes into he looks like an Ochimusha. exile.* [2] •
•
•
•
•
In some areas of Nagano and Gifu Prefecture Ochimusha are referred to as daikō(だいこう ). They were was also used to be called ochipuwaa( おちぷはあ) in some parts 13.4 References of Kansai, but this term is no longer in use due derogatory [1] Imatani , Akira, 戦国 期の 畿内 周辺 では、「落武 者 connotations.
襲撃慣⾏」が出されており、⼟⺠百姓の落武者 狩りは公認されていた. 岩波ジュニア新書, ISBN
13.1
4005003354 p.153
Appearance
[2] ,Shimizu, Katsuyuki, forth chapter " 喧嘩両成敗の誕 ⽣" 講談社選書メチエ
The iconography usually represents the Ochimusha with the crown of his head shaved and the rest of the hair long and loose, a dissolved chonmage. The dissolved chonmage would then mean losing the social status of the samurai. Arrows stuck in body is also a common motif.
13.2
“Mob Psycho 100" Vol 2. Ura Sunday.
•
Modern Times
In modern times the term is used to refer to politics that loose an election, while the term“Ochimusha hunting”is 34
Chapter 14
Onryō 14.2 Onryō vengeance For the professional wrestler, see Onryo (wrestler). In traditional beliefs of Japan and in literature, onryō Traditionally in Japan onryō driven by vengeance were thought capable of causing not only their enemy's death, as in the case of Hirotsugu's vengeful spirit held responsible for killing the priest Genbō,* [4]), but causing natural disasters such as earthquakes, fires, storms, drought, famine and pestilence,* [1] as in the case of Prince Sawara's spirit embittered against his brother, the Emperor Kammu.* [5] In common parlance, such vengeance exacted by supernatural beings or forces is termed tatari (祟り).* [1] The Emperor Kammu had accused his brother Sawara of plotting (possibly falsely to remove him as rival to the throne), andthe latterwho was exiled died byfasting. The reason that the Emperor moved the capital to NagaokaOnryō from the Kinsei-Kaidan-Simoyonohoshi ( 近世怪談 kyō thence to Kyoto was an attempt to avoid the wrath ) of his brother's spirit, according to a number of schol* (怨霊, literally “vengeful spirit”, sometimes rendered ars. [5] This not succeeding entirely, the emperor tried “wrathful spirit”* [1]) refers to a ghost ( yurei ) believed to lift the curse by appeasing his brother's ghost, by percapable of causing harm in the world of the living, harm- forming Buddhist rites to pay respect, and*granting Prince ing or killing enemies, or even causing natural disasters Sawara the posthumous title of emperor. [5] to exact vengeance to redress the wrongs it received while A well-known example of appeasement of the onryō alive. spirit is the case of Sugawara no Michizane, who had The term overlaps somewhat with goryō ( 御霊 ), except been politically disgraced and died in exile. Believed to that in the cult of the goryō , the acting agent need not cause the death of his calumniators in quick succession, as well as catastrophes (especially lightning damage), and necessarily be a wrathful spirit. * [1] the court tried to appease the wrathful spirit by restoring Michizane's old rank and position. * [1] Michizane became deified in the cult of the Tenjin, with Tenman-gū 14.1 Origin of onryō shrines erected around him. While the origin of onryō is unclear, their existence can be traced back to the 8th century and was based on the idea that powerful and enraged souls of the dead could influence or harm the living people. The earliest onryō cult that developed around Prince Nagaya who died in 729;* [1] and the first record of possession by the onryō spirit affecting the health is found in the chronicle Shoku Nihongi (797), which states that "Fujiwara Hirotsugu (藤 原広嗣)'s soul harmed Genbō to death”(Hirotsugu having died in a failed insurrection, named the " Fujiwara no Hirotsugu Rebellion,”after failing to remove his rival, the priest Genbō, from power). * [2]* [3]
14.2.1
Examples of onryō vengeance
Possibly the mostfamous onryō is Oiwa, fromthe Yotsuya Kaidan. In this story the husband remains unharmed; however, he is the target of the onryō ʼs vengeance. Oiwa's vengeance on him isn't physical retribution, but rather psychological torment. Other examples include:
35
•
How a Man's Wife Became a Vengeful Ghost and How Her Malignity Was Diverted by a Master of
36
CHAPTER 14. ONRYŌ
14.4
Divination
In this tale from the medieval collection, Konjaku Monogatarishū, an abandoned wife is found dead with a full head of hair intact and the bones still attached. The husband, fearing retribution from her spirit, asks a diviner ( 陰 陽師 onmyōji ) for aid. The husband must endure while grabbing her hair and riding astride her corpse. She complains of the heavy load and leaves the house to “go looking”(presumably for the husband), but after a day she gives up and returns, after which the diviner is able to complete her exorcism with an incantation.* [6]* [7] •
Of a Promise Broken
In this tale from the Izumo area recorded by Lafcadio Hearn, a samurai vows to his dying wife never to remarry. He soon breaks the promise, andthe ghostcomes to first warn, then murder the young bride, ripping her head off. The watchmen who had been put to sleep chase down the apparition, and with a slash of the sword while reciting Buddhist prayer, destroys it.* [8]
•
Japanese urban legends
•
Ghosts in Vietnamese culture
•
Kayako Saeki
•
Sadako Yamamura
•
S-Ko
•
List of ghosts
•
Fatal Frame (video game)
•
Muoi: The Legend of a Portrait (film)
•
Vengeful ghost
14.5
Footnotes
14.5.1
Explanatory notes
[1] In addition to blue, brown shadows (代赭隈 taishaguma) "red ochre fringe”or black kumadori(⽇本博学倶楽部 2005, p. 57)
14.5.2
14.3
Physical appearance
Traditionally, onryō and other yūrei (ghosts) had no particular appearance. However, with the rising of popularity of Kabuki during the Edo period, a specific costume was developed. Highly visual in nature, and with a single actor often assuming various roles within a play, Kabuki developed a system of visual shorthand that allowed the audience to instantly clue in as to which character is on stage, as well as emphasize the emotions and expressions of the actor. A ghost costume consisted of three main elements: •
•
•
White burial kimono, shiroshōzoku (⽩ 装 束) or shinishōzoku (死に装束 ) Wild, unkempt long black hair Face make-up consisting of white foundation (oshiroi ) coupled with face paintings ( kumadori ) of blue shadows ( 藍隈 aiguma) "indigo fringe”, much like villains are depicted in kabuki make-up artistry.* [9]
* [10]* [lower-alpha
1]
The Onryō bears a striking similarity to the demonic Kuntilanak and Sundel Bolong of Indonesian folklore.
See also
Citations
[1] Grappard, Allan G., Hall, John Whitney, ed., The Cambridge History of Japan 2 : 559–, ISBN 0521223539 http://books.google.co.jp/books?id=eiTWWfoyuyAC& pg=PA560 |url= missing title (help) |chapter= ignored (help) [2] For a source that identifies Hirotsugu as onryō , see:Suzuki 2011, 135 (note 2 to Chapter 2) [3] A source that gives Hirotsugu as first example on record of “etiological possession”is McCullough 1973, p. 97 [4] McCullough, William H. (1973), Ōta, Saburo ( 太⽥ 三 郎); Fukuda, Rikutaro ( 福⽥陸太郎), eds., “Spirit Possession in the Heian Period”, Studies on Japanese Culture (⽇本⽂化研究論集 ) (The Japan P.E.N. Club) 1: 97; (Also printed in Nihon Bunka Kenkyū Kokusai Kaigi gijiroku ( ⽇本⽂化研究国際会議議事錄) (Volume 1, 1973, pp. 350- (p.356) [5] Suzuki, Yui (2011). Medicine Master Buddha: The Iconic Worship of Yakushi in Heian Japan. BRILL. pp. 29–31. ISBN 9004196013. [6] Jones, S. W. (translator), ed. (1959). Ages ago; thirtyseven tales from the Konjaku monogatari collection (snippet). Harvard University Press. p. 72. [7] One of the texts cited by Jones: Haga, Yaichi (芳賀 ⽮ ⼀), ed. (1921), 今物語集 (Kōshō konjaku mono gatari shū), 3 (下): 106 http://dl.ndl.go.jp/info:ndljp/pid/ 945416 |url= missing title (help) |chapter= ignored (help)
14.7. EXTERNAL LINKS
[8] Hearn, Lafcadio (1901), A Japanese miscellany (Little, Brown): 15–26 http://books.google.com/books?id= DGEiAAAAMAAJ&pg=PA15 |url= missing title (help) |chapter= ignored (help) [9] ⽇本博学倶楽部 (2005). 「通」になれる古典能を 楽しむ本 : 落語・歌から能・まで . PHP 研 究所. p. 57. ISBN 4569665497. [10] Parker, Helen S. E. (2006). Progressive Traditions: An Illustrated Study of Plot Repetition In Traditional Japanese Theatre. BRILL. p. 87. ISBN 9004145346.
14.6 •
Bibliography
Iwasaka, Michiko and Toelken, Barre. Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends , Utah State University Press, 1994.
ISBN 0-87421-179-4
14.7 •
•
External links
Ghoul Power - Onryou in the Movies Japanzine By Jon Wilks Yūrei-ga gallery at Zenshoan Temple
37
Chapter 15
Shirime
Shirime as drawn by Yosa no Buson. Shirime (尻⽬, lit. “buttocks eye”) is a strange yōkai
with an eye in the place of his anus. Thestory goes as follows: Long ago, a Samurai was walking at night down the roadto Kyōto, when he heard someone calling out for him to wait.“Who's there?!" he asked nervously, only to turn around and find a man stripping off his clothes and pointing his bare buttocks at the flabbergasted traveler. A huge glittering eye then opened up where the strange man's anus should have been. This creature was so liked by the haiku poet and artist Buson that he included it in many of his yōkai paintings.* [1]
15.1
References
[1] Murakami, Kenji (2000). Yōkai Jiten, p.192. Tokyo: The Mainichi Newspaper Company. ISBN 4-620-31428-5.
15.2 •
External links
Shirime – Eyeball Butt at hyakumonogatari.com (English).
38
Chapter 16
Shiryō a father who had a daughter died, the father's shiryō appeared before the daughter, and tried to take her away. The daughter became afraid, and she was able to get relatives and friends to come, but even then the father's shiryō appeared to try to take her away, and it is said that after one month, he finally stopped appearing. * [4]* [5]
16.2
References
[1] 新村出 編 (1991). 広辞苑 (第 4 版 ed.). 岩波書店. pp. 1311 ⾴. ISBN 978-4-00-080101-0. [2] 新村出編 (1991). 広辞苑 (第 5 版 ed.). 岩波書店. pp. 1360 ⾴. ISBN 978-4-00-080111-9. [3] 今野円輔 (2004). ⽇本怪談集幽霊 . 中公⽂庫 下. 中央公論新社. pp. 13–38 ⾴. ISBN 978-4-12-2044654. [4] 柳⽥國男 (2004). " 遠野物語拾遺". 遠野物語 . ⾓川 ソフィア⽂庫. ⾓川書店. pp. 153 ⾴. ISBN 978-4-04308320-6. [5] 今 野 円 輔 (2004). ⽇本怪談集幽霊 . 中 公 ⽂ 庫 上. 中央公論新社. pp. 194–195 ⾴. ISBN 978-4-12204464-7.
“ Shiryō" from the Gazu Hyakki Yagyō by Sekien Toriyama
Shiryō (死霊) are the soul of the dead. It is used as the
antonym of ikiryō (soul of the living).* [1]
16.1
16.3
Summary
Classical literature and folkloristics material has left many mentions of shiryō, and they have various behavior. According to the Kōjien, they were considered onryō (vengeful spirits) that possess humans and perform a tatari (a type of curse), * [1]* [2] but other than possessing humans and making them suffer like ikiryō do, there are also stories where they chase around those who killed themselves, loiter around the place they died, appear to people they are close to and gree them, and try to kill those who they are even close to in order to bring them to the other world.* [3] In the Tōno Monogatari, there was a story where after 39
See also
•
Soul
•
Tatari
Chapter 17
Ubume Ubume (産⼥), a Japanese yōkai,* [1] appears in folk sto-
just a moment and disappears when her victim takes the swaddled baby. * [8] The baby then becomes increasingly heavy until it is impossible to hold. It is then revealed not to be a human child at all, but a boulder or a stone image of Jizo.* [9]
ries and literature as an old woman or Crone, with a child in her arms, imploring the passerby to hold her infant, only to then disappear. * [2] As legend has it, the weight of the child increases by degrees, untilthe bewitched“child” is revealed to be nothing more than a huge rock or boul- Many scholars have associated the Ubume with the legder.* [3] The first version of this sort of tale was related end of the hitobashira,* [10] where a sacrificial mother by Urabe Suyetake, servant of Raiko.* [4] and child “ are buried under one of the supporting pillars of a new bridge. "* [11] The Shoshinʼin Temple, according to scholars, * [12] is where local women come to pray to conceive a child or to have a successful pregnancy. * [13] According to Stone and Walter (2008), the origins of the temple ʼs legend, set in the mid-sixteenth century, concern: ... a modern statue of Ubume, displayed once a year in July. At this festival, candy that has been offered to the image is distributed, and women pray for safe delivery and for abundant milk. The statue, which is clothed in white robes, has only a head, torso, and arms; it has no lower half. * [14]
17.2
Ubume in literature
Stories about Ubume have been told in Japan since at least the twelfth century.* [15] The early seventeenth-century tale collection Konjaku hyaku monogatari hyoban says of the Ubume: An image of ubume as depicted by Toriyama Sekien , an ukiyo-e artist famous for his prints of yokai and obakemono.
17.1
Ubume in folklore
Originally the name for a kind of small sea fish, * [5] in Japanese folklore the term is now applied to the ghost of a woman who had died in childbirth, orʻʻ birthing woman ghost.ʼ ʼ * [6]* [7]
When a woman loses her life in childbirth, her spiritual attachment (shūjaku) itself becomes this ghost. In form, it is soaked in blood from the waist down and wanders about crying, ʻ Be born! Be born!ʼ(obareu, obareu) .* [16]
Natsuhiko Kyogokuʼs best-selling detective novel, The Summer of the Ubume , uses the Ubume legend as its central motif, creating something of an Ubume 'craze' * [17] at the time of its publication and was made into a major Typically, theUbume asks a passerby to hold her child for motion picture in 2005. * [18] 40
41
17.6. SUGGESTED READING
17.3
Ubume in art
Hepburn, James Curtis. A Japanese-English and EnglishJapanese dictionary . Maruya & co. (1887)
Tokugawa-era artists* [19] produced many images of Joly, Henri L. Legend in Japanese art: a description of Ubume, usually represented as “ naked from the waist historical episodes, legendary characters, folklore, myths, up, wearing a red skirt and carrying a small baby. " * [20] religious symbolism, illustrated in the arts of old Japan . J. Other illustrations of Ubume are from Toriyama Sekien ʼ Lane. (1908) s late eighteenth-century encyclopedia of ghosts, goblins Stone, Jacqueline Ilyse and Mariko Namba Walter. Death and ghouls, Gazu_Hyakki_Yagyō.* [21] and the afterlife in Japanese Buddhism . (2008)
17.4
Notes
17.6
Suggested reading
[1] Bush, 188.
Iwasaka, Michiko and Barre Toelken. Ghosts And The
[2] Stone and Walter, 191.
Japanese: Cultural Experience in Japanese Death Legends . (1994)
[3] Joly, 15. [4] ibid. [5] Hepburn, 705. [6] Joly, 16.
Kyogoku, Natsuhiko. The Summer of the Ubume . San Francisco: Viz Media. (2009) Wakita, Haruko. Women in medieval Japan: motherhood, household management and sexuality. Monash Asia Institute. (2006)
[7] Stone and Walter, 204. [8] Stone and Walter, 191.
17.7
See also
[9] Joly, 15. [10] Glassman, 560. [11] Stone and Walter, 204. [12] Joly, 15. [13] Glassman, 560. [14] Stone and Walter, 192. [15] Glassman, 560. [16] Stone and Walter, 192. [17] Foster, 230. [18] ibid. [19] Joly, 16. [20] ibid. [21] Stone and Walter, 192.
17.5
References
Bush, Laurence C. Asian horror encyclopedia: Asian horror culture in literature, manga and folklore. Writers Club Press. (2001) Foster, Michael Dylan.
Pandemonium and parade: Japanese monsters and the culture of yōkai . University
of California Press. (2009) Glassman, Hank. The religious construction of motherhood in medieval Japan . Stanford University. (2001)
•
Sankai, yōkai that emerge from pregnant women
Chapter 18
Ushi no toki mairi mairi (丑参り), ushimitsu mairi (丑三参り ).* [9]* [10]
18.1
Overview
Sources say that common method of the ritual developed during the Edo Period (1603-1868).* [5] The woman performing the curse is generally portrayed as dressed in white, with disheveled hair, * [4] wearing an iron “crown”that holds three burning candles, * [3]* [5] suspending (from her neck) a mirror upon her chest* [1]* [3]* [9]* [11] (which lies hidden * [1]) and wearring a pair of tall clogs ( geta).* [6]* [lower-alpha 3] She would then nail a straw doll representing her target to a sacred tree ( 神⽊ shimboku) at the Shinto shrine.* [4] The iron “crown”that she wears is actually a tripod ( 五 徳 gotoku)(or trivet,* [12] a stand for setting cooking pots, etc., above a heat source) which she wears in inverted, * [6] slipping the iron ring over her head and sticking candles on its three legs. * [4] Ushi no toki mairi from the Konjaku Gazu Zoku Hyakki (1779) by Sekien Toriyama* [1] Ushi no toki mairi (Japanese: 丑の時参り) or ushi no koku mairi (丑刻参り) lit. “ox-hour shrine-visit”* [2]
refers to a prescribed method of laying a curse upon a target that is traditional to Japan, so-called because it is conducted during the hours of the Ox (between 1 and 3AM). The practitioner ̶typically a scorned woman * [3]* [4] ̶ while dressed in white and crowning herself with an iron ring set with three lit candles upright, hammers nails into a sacred tree* [5]* [lower-alpha 1] of the Shinto shrine. In the modern-day common conception, the nails are driven through a straw effigy* [lower-alpha 2] of the victim, impaled upon the tree behind it.* [4]* [6] The ritual must be repeated seven days running, after which the curse is believed to succeed, causing death to the target, * [5] but being witnessed in the act is thought to nullify the spell. * [7] The Kibune Shrine in Kyoto is famously associated with the ritual.* [8]
A woman summoning a yōkai through ushi no toki mairi , by Katsushika Hokusai
It was believed that the spot struck on the straw doll corresponded to the area of the body where the target would begin to experience illness or injury. * [4]* [10] However, this straw doll or other form of effigy was not a definitive requisite in the ritual even relatively late in the Edo Period. For instance, in Toriyama Sekien's Konjaku Also variously called ushi no toki mōde ( 丑時 詣), ushi Gazu Zoku Hyakki (1779, pictured top right) depicts the 42
43
18.2. HISTORY
woman holding a hammer but no doll, nor is the doll men- her rival, her man's kinsmen, then indiscriminately other tioned in the caption. * [1] In this case, the nails are driven innocent parties, she lived on beyond the normal human directly into the branches of the sacred tree. life span, to prey on thesamurai Watanabe no Tsuna atthe The props used are described somewhat differently, de- Ichijo Modoribashi (⼀条戻橋)“Turning Back bridge at to pending on the source. Nails of a particular size called the street crossing of Ichijō andHorikawa ”bridge, only * have her arm severed by the sword Higekiri ( 髭切). [19] gosun kugi ( 五⼨釘 , “five inch nails ”) are prescribed according to some authorities.* [9]* [13] She may hold in Tsuna kept the demon's arm, whose power was contained ) Abe no Seimei, her mouth a comb,* [13] or a“torch of bamboo and pine by the Yinyang master ( 陰陽師 onmyōji * roots lighted at both ends”.* [4] The “proper witch- via chanting the Ninnō-kyō sutra. [18] In this variant of ing hour”is, stricky speaking, the ushi no mitsu doki the“chapter of thesword”, theceremony that thewoman undergoes at theUji River to transmogrify into the demon (2:00~2:30AM).* [1] is described as follows: In Sekien's or Hokusai's print (above), the woman performing the curse ritual is depicted with a black ox by Secluding herself in a deserted spot, she diher side. Such a black ox, lying recumbent, is expected vided her long hair into five bunches and fashto appear on the seventh night of the ritual, and one must ioned these bunches into horns. She daubed stride or straddle over the animal to complete the task to her face with vermilion and her body with success, * [14] but if one betrays fear at the ox's apparition cinnabar, set on her head an iron tripod with the “potency of the charm is lost ”.* [4] burning brands [* * [lower-alpha 4]] attached to its legs and held in her mouth another brand, burning at both ends. 18.2 History ̶From Tsurugi no Maki * [12]* [20]* [21] See also: Hashihime Thus in the Tsurugi no maki can be seen such elements In earlier times, the term simply referred to worshiping at as the wearing of the tripod (here called kanawa (鉄輪)) the shrine during the hours of the ox, and the curse con- and propping lit torches (similar to candles in later tranotation developed later. At the Kibune Shrine in Kyoto, dition), but the woman painted her entire face and body there was a tradition that if one prayed here on the “ox red, rather than remain in pure white garb. hour of the ox day of the ox month of the ox year" the Later during the Muromachi Period, this legend was wish was likely to be granted, because it was during this adapted by Zeami* [12] into the Noh play Kanawa or alignment of the hour, day, month, and year that the Ki- The Iron Crown .* [20] The Noh play inherits essen“ ” bune deity was believed to have made descent upon the tially thesame outfit for theprincipal woman, who is comshrine. However, the shrine became known a cursing spot manded by the oracle to “daub your face with red and in later development. * [15] wear scarlet clothing, * [15]* [20] and uses neither a straw ”
The Kibune Shrine became strongly associated with the ox hour curse following the fame of the medieval legend of the Hashihime of Uji (“The Princess of the Bridge of Uji (ja)"). The legend is considered the prime source of the later conception Ushi no toki mairi curse ritual.* [15]* [16] According to legend, Hashihime in mortal life was the daughter of a certain nobleman, but consumed by jealousy, made a wish to become a kijin (an oni demon) capable of destroying her love rival. After 7 days at Kibune Shrine, she was finally given revelation by the resident deity“to bathe for thirty seven days in the rapids of the Uji River.”* [17] Note that even though Kibune has later been seen as a mecca for the ritual, Hashihime only learned the recipe here, and enacted it miles away (Kibune is in the north of Kyoto, the Uji River is to the south).
doll or hammer, * [15] but has the yingyang master Seimei
creates “two life-size straw effigies of the man and his new wife [with] their names [placed] inside ”in order to perform the rites to excorcize Hashihime's demon. * [20] Therefore, the later form of the ushi no mairi devleloped afterwards, through the marriage of the use of dolls in the Japanese esoteric art of onmyōdō with the shrine visitng of the ox hour. 18.2.1
Curse using dolls in antiquity
Use of dolls in cursing ritual has been practiced since antiquity, with an reference in the Nihon shoki chronicle under the reign of Emperor Yōmei, which relates relates that in the year 587, Nakatomi no Katsumi no Muraji “preThe earliest written text of the legend occurs in a late- parede figures of the Imperial Prince *Hikobito (ja),.. and Kamakura Period variant text (Yashirobon codex* [18]) [spellcast] them, ”but it did not work. [22] However, this of The Tale of Heike , under the Tsurugi no maki (“Book record does not clarify if the dolls were poked by sharp of the Sword”) chapter.* [19] According to it, Hashihime implements. was originally a mortal during the reign of Emperor Saga There are unearthed archeological relics shaped like hu(809 to 823),* [17] but after turning demon and killing man dolls suspected of being used in curses. Called
44
CHAPTER 18. USHI NO TOKI MAIRI
wooden purificatory figurines ( ⽊製⼈形代 mokusei hi- 18.6.2 Citations togatashiro), some have faces realistically drawn and ink, and others with iron nails driven into the breast. One [1] Sekien (1779), quote: 「丑時まいりハ、胸に⼀ツの鏡 をかくし、頭に三つの燭〔ともしび〕を點じ、丑 such from the 8th century is held by the Nara National みつの⽐神社にまうでゝ杉の梢に釘うつとかや。 Research Institute for Cultural Properties.* [23]* [24] Anはかなき⼥の嫉妬より起りて、⼈を失ひ⾝をうし ther from the Tatechō site in Matsue, Shimane, a wooden なふ。⼈を呪咀〔のろわ〕ば⽳⼆つほれとは、よ tag depcits a female figure, apparently a noblewoman き近き譬ならん」Translation: In the ushi doki mairi , deducing from attire, and this doll had three wooden [a woman] conceals a mirror in the bosom, lights three pegs or nails driven into it, aiming at her breasts and her candles around her head, visits the shrine in the ushi mitsu heart.* [25] hour (third quarter of the hour of the ox, 2:00~2:30 AM),
18.3 •
and drives nails into a sugi tree. The fleeting jealousies of a woman, brings ruin to the person and body. It is well said the proverb “curse someone, dig a second grave [for yourself]".
Miscellaneous
In Japanese law studies, attempts to commit murder [2] Nelson 1996, p. 143 gives “shrine visitation at the hour of the cow” through the ushi no mairi is often cited as the “textbook example of impossibility defense case crime ” [3] Joly 1912, pp. 41.* [26]* [27] [4] Pfoundes 1875, pp. 19–20, quoted in Hildburgh 1915, 65. Notes.. Magical Methods for Injuring Persons, p.118
18.4 •
Popular art
The film Kanawa (1969) is based on the noh play.* [28]
[5] Nelson 1996, pp. 143–4, citing Ono, Susumu (⼩野進) (1974). 古語辞典 . [6] Griffis 1876, p. 474 [7] Jurgis 1997, p.290 and footnote 72
18.5
See also
•
Shintai
•
kekkai (結界)
•
Ara-mitama and nigi-mitama
[8] Reader, Ian; Tanabe, George Joji (1998). Practically Religious: Worldly Benefits and the Common Religion of Japan. University of Hawaii Press. p. 140. ISBN
0824820908. [9] 新村, 出 (Niimura, Izuru), ed. (1991), " うしのときま いり ", 広辞苑 (Kojien ( 第 4 版 ed.), 岩波書店, ISBN 978-4-00-080101-0
•
magic
[10] ⽇本国語⼤辞典 (Nihon kokugo daijiten) 2, ⼩ 学 館, 1972, p. 567
•
Voodoo doll
[11] Mitford 1870, pp. 139–140
•
Rinki no hi no tama (ja), a Rakugo repertoire in [12] Kusano, Eisaburō (1962), Stories behind noh and kabuki which the main character's life and lover both go on plays , Tokyo News Service, p. 30 ushi no toki mairi
18.6
Footnotes
18.6.1
Explanatory notes
[13] ⼩松和彦 (Komatsu, Kazuhiko) 「いでたちは⽩い着
[1] sacred tree (御神⽊ | 神⽊ shinboku) [2] straw doll (藁⼈形 wara ningyō ) [14] [3] 三橋 2011, pp. 264–5 states that she wears tall clogs with only one support board (「⼀本⻭の⾼下駄」) , even though the accompanying illustration from a Utagawa [15] Toyohiro print clearly shows two supports. [16] [4] or“to each of its leg, a torch made with pine wood is tied and afired”in Kusano 1962, p. 30
物を着て、髮を乱し、顔に⽩粉、⻭には鉄漿、⼝ 紅を濃くつくる、頭には鉄輪をかぶり、その三つ の⾜にろうそくを⽴ててともす。胸に鏡を掛け、 ⼝に櫛をくわえる。履き物は⻭の⾼い⾜駄であ る」quoted in: 松井 , 吉昭 (2000), 時と⽂化 : ⽇本史 究の : 岡⽥芳⽣古記念論集 (snippet) (歴研]): 173, ISBN 4947769025 http://books.google.co.
jp/books?id=SXY0AQAAIAAJ |url= missing title (help) |chapter= ignored (help) 関, ⼀敏; ⼤塚, 和夫, eds. (2004), 宗教⼈類学⼊⾨ , 弘 ⽂堂, p. 149 三橋 2011, pp. 264–5
Marvin, Stephen E. (2007). Heaven has a face, so does hell: the art of the Noh mask 1 . Floating World Editions. p. 278. ISBN 1891640321.
45
18.7. REFERENCES
[17] Kato, Eileen (1970), Keene, Donald, ed., Twenty Plays of the Nō Theatre (Columbia University Press): 193–194ff http://books.google.co.jp/books?id=Ea1vu0-3FiUC& pg=PA193 |url= missing title (help) |chapter= ignored (help)
•
•
[18] Selinger, Vyjayanthi R. (2013), Writing Margins: The Textual Construction of Gender in Heian and Kamakura Japan, BRILL, p. 130, ISBN 9004255338
•
[19] Kawashima, Terry (2001), Writing Margins: The Textual Construction of Gender in Heian and Kamakura Japan , Harvard Univ Asia Center, pp. 272–, ISBN 0674005163 [20] Kato 1970
•
[21] Kato, quoted in Murguia 2013 [22] Aston, William George (1896). Nihongi: Chronicles of Japan from the Earliest Times to A.D. 697 1. London: Japan Society of London. p. 109-.
Mitford, A. B. (1870). “Tales of Old Japan: No. II The Loves of Gompachi and Komurasaki ”. The Fortnightly . new series 8 : 139–. Murguia, Salvador Jimenez (2013). “The Cursing Kit of Ushi no Koku Mairi ”. Preternature: Critical and Historical Studies on the Preternatural 2 (1): 73– 91. doi:10.5325/preternature.2.1.0073. Nelson, John K. (1996). “Freedom of Expression: The Very Modern Practice of Visiting a Shinto Shrine”(pdf). Japanese Journal of Religious Studies 23: 143–144. •
[23] 永藤, 靖 (Nagafuji, Yasushi) (2003), 古代教説話の 法 : 霊異記から記, 三弥井書店, p. 22 [24] 梅屋, 潔 (Umeya, Kiyoshi). " のろい (noroi)" (pdf). ⽇ 本⺠俗学会編『⺠俗学事典』丸、近刊予 . Ⅲ④−10 および 19. Retrieved April 2014.
Joly, Hernri L. (1912).“Bakemono”. Transactions and Proceedings of the Japan Society, London 9: 41– .
•
Nelson, John K. (2000). Enduring Identities: The Guise of Shinto in Contemporary Japan . University of Hawaii Press. p. 47. ISBN 0824822595.
Pfoundes, C. (1875). Fu-so Mimo Bukuro: A Budget of Japanese Notes . Japan Mail. pp. 19–20.
[25] 勝部, 昭 (1990), タチウ遺書 III , Japanese sources 川原和⼈, 宮澤明久, 柳浦俊⼀, ⼤⾕祐司, ⻑峰康典, 島根県教育委員会, pp. 375, 377 註 2 本編 (2).pdf 三 橋, 健 (2011), 版 知 れ ば 知 る ほ ど ⾯ •
[26] 飯塚, 敏夫 (1934). " 第六丑の刻詣りと不能犯學". 法論 第 1 巻. 松華堂書店. pp. 133–142. [27] 沢登, 佳⼈ (1998). " 許された危険の法理に基づく 因果関係論の克服 (Überwindung der Kausalitätslehre durch die Lehre vom erlaubten Risiko)". 法理論 30 (4): 101–127 (107–111). ISSN 0286-1577. [28] McDonald, KeikoI. (1994). Japanese Classical Theater in Films . Fairleigh Dickinson Univ Press. pp. 272–. ISBN 0838635024.
18.7 •
References
Elisonas, Jurgis (1997), Edo and Paris: Urban Life and the State in the Early Modern Era (Cornell University Press): 290, ISBN
080148183X http://books.google.co.jp/books?id= -qOuykzxhKUC&pg=PA290 |url= missing title (help) |chapter= ignored (help) •
Griffis, William Elliot (1876). The Mikado's Em pire. Harper & Brothers. p. 474. •
•
New Edition of 1883
Hildburgh, W. L. (1915). “65. Notes on Some Japanese Magical Methods for Injuring Persons”. Man (Royal Anthropological Institute of Great Britain and Ireland) 15: 116–121. doi:10.2307/2787870.
⽩ い 神 道 の 本, ⻄ 東 社, pp. 264–5, ISBN
4791618165
Chapter 19
Yotsuya Kaidan day Tokyo) as a double-feature with the immensely popular Kanadehon Chushingura. Normally, with a Kabuki double-feature, the first play is staged in its entirety, followed by the second play. However, in the case of Yotsuya Kaidan it was decided to interweave the two dramas, with a full staging on two days: the first day started with Kanadehon Chushingura from Act I to Act VI, followed by Tōkaidō Yotsuya Kaidan from Act I to Act III. The following day started with the Onbo canal scene, followed by Kanadehon Chushingura from Act VII to Act XI, then came Act IV and Act V of Tōkaidō Yotsuya Kaidan to conclude the program.* [2] The play was incredibly successful, and forced the producers to schedule extra out-of-season performances to meet demand. The story tapped into people ʼs fears by bringing the ghosts of Japan out of the temples and aristocrats' mansions and into the home of common people, the exact type of people who were the audience of his theater.
19.2
Story
As the most-adapted Japanese ghost story, the details of Yotsuya Kaidan have been altered over time, often bearing little resemblance to the original kabuki play, Utagawa Kuniyoshi 's portrait of Oiwa. and sometimes removing the ghostly element all together. However, the base story usually remains the same and Yotsuya Kaidan (四 ⾕ 怪 談), the story of Oiwa and recognizable. Tamiya Iemon,* is a tale of betrayal, murder and ghostly (Note: the following summary is of the original 1825 revenge. Arguably the most famous Japanese ghost story Nakamuraza production. As such, it does not detail the of all time, it has been adapted for film over 30 times, and numerous subplots and characters added to the story over continues to be an influence on Japanese horror today. the intervening years.) Written in 1825 by Tsuruya Nanboku IV as a kabuki play, the original title was Tōkaidō Yotsuya Kaidan (東海道四 ⾕怪談).* [1] It is now generally shortened, and loosely 19.2.1 Act 1 translates as Ghost Story of Yotsuya.* Tamiya Iemon, a rōnin, is having a heated exchange with his father-in-law, Yotsuya Samon, concerning Samon's daughter Oiwa. After it is suggested by Samon that Iemon 19.1 History and his daughter should separate, the ronin becomes enraged and murders Samon. The next scene focuses on the First staged in July 1825, Yotsuya Kaidan appeared at the character Naosuke who is sexually obsessed with Oiwa's Nakamuraza Theater in Edo(the former name of present- sister, the prostitute Osode, despite her being already 46
47
19.3. HISTORICAL BASIS
married to another man, Satô Yomoshichi. As this scene begins, Naosuke is at the local brothel making romantic advances toward Osode when Yomoshichi and the brothel's owner, Takuetsu, enter. Unable to pay a fee demanded by Takuetsu, he is mocked by both Yomoshichi and Osode and forcibly removed. Shortly thereafter an intoxicated Naosuke murders Okuda Shôzaburô, his former master, whom he mistakes for Yomoshichi. This is implied to occur at the precise time of the slaying of Samon. It is at this point that Iemon and Naosuke unite and conspire to mislead Oiwa and Osode into believing that they will exact revenge on the persons responsible for their father's death. In return Osode agrees to marry Naosuke.
19.2.4
Act 4
At the opening Naosuke is pressuring Osode to consummate their marriage, to which she seems oddly averse. Yomoshichi appears and accuses Osode of adultery. Osode resigns herself to death in atonement and convinces Naosuke and Yomoshichi that they should kill her. She leaves a farewell note from which Naosuke learns that Osode was his younger sister. For the shame of this, as well as for the killing of his former master, he commits suicide. 19.2.5
Act 5
Iemon, still haunted by the ghost of Oiwa, flees to an isolated mountain retreat. There he rapidly descends into madness as his dreams and reality begin to merge 19.2.2 Act 2 and Oiwa's haunting intensifies. The act closes with Yomoshichi slaying Iemon out of both vengeance and Oume, the granddaughter of Itô Kihei, has fallen in love compassion. with Iemon. However, believing herself to be less attractive than Oiwa, she doesn't think Iemon will ever want to become her husband. Sympathizing with Oume's plight, 19.3 Historical basis the Itôs scheme to have Oiwa disfigured by sending her a topical poison disguised as a facial cream. Oiwa, unbe- Nanboku incorporated two sensational and real-life murknown to her at the time, is instantly scarred by the cream ders into Yotsuya Kaidan, combining fact and fiction in when she applies it. Upon seeing his wife's ghastly new a manner that resonated with audiences. The first incountenance, Iemondecides he canno longer remain with volved two servants who had murdered their respective her. He asks Takuetsu to rape Oiwa so that he will have masters. They were caught and executed on the same day. an honorable basis for divorce. Takuetsu cannot bring The second murder was from a samurai who discovered himself to do this so, instead, he simply shows Oiwa her his concubine was having an affair with a servant. The reflection in a mirror. Realizing that she has been de- samurai had the faithless concubine and servant nailed to ceived, Oiwa becomes hysterical and, picking up a sword, a wooden board and thrown into the Kanda River. runs towards the door. Takuetsu moves to grab her but Oiwa, attempting to evade him, accidentally punctures her own throat with the sword's tip. As she lies bleeding to death before a stunned Takuetsu, she curses Iemon's 19.4 Popularity name. Not long after Iemon becomes engaged to Oume. Act 2 closes with Iemon being tricked by Oiwa's ghost Yotsuya Kaidan' s popularity is often accounted for by the into slaying both Oume and her grandfather on the night way it fit the mood of its time, * [1] as well as its use of of the wedding. universal themes. The Bunsei era was a time of social unrest, and the repressed position of women in society was severe. The exchange of power for powerlessness was something audiences could relate to. Oiwa went from a delicate victim to a powerful avenger, while Iemon trans19.2.3 Act 3 forms from tormentor to tormented. The remaining members of the Itô household are annihilated. Iemon kicks Oyumi, the mother of Oume, into the Onbô Canal and Omaki, the servant of Oyumi drowns by accident. Naosuke arrives in disguise as Gonbei, an eel vendor, and blackmails Iemon into handing over a valuable document. Iemon contemplates his prospects while fishing at the Onbô canal. On the embankment above the canal Iemon, Yomoshichi and Naosuke appear to fumble as they struggle for possession of a note which passes from hand to hand in the darkness.
Also, Oiwa is much more direct in her vengeance than Okiku, another popular kabuki ghost, and she is much more brutal. This added level of violence thrilled audiences, who were seeking more and more violent forms of entertainment. In addition, the performance of Yotsuya Kaidan was filled with fantastic special effects, with her ruined face projecting magnificently from an onstage lantern, and her hair falling out in impossible amounts. Yotsuya Kaidan paired the conventions of kizewamono
48
CHAPTER 19. YOTSUYA KAIDAN
“raw life play”, which looked at the lives of non-nobles, and kaidanmono “ghost play”.* [1]
19.5
Ghost of Oiwa
Sugamo, a neighborhood of Tokyo. The date of her death is listed as February 22, 1636. * [4] Several productions of Yotsuya Kaidan, including television and movie adaptations, have reported mysterious accidents, injuries and even deaths. Prior to staging an adaptation of Yotsuya Kaidan it is now a tradition for the principal actors and the director to make a pilgrimage to Oiwa's grave and ask her permission and blessing for their production.* [5] This is considered especially important of the actor assuming the role of Oiwa. Sadako Yamamura from the film Ring is a clear homage to Oiwa. Her final appearance is a direct adaptation of Oiwa, including the cascading hair and drooping, malformed eye.* [6] Also in Ju-on when Hitomi is watching the television, the television presenter is morphed into a woman with one small eye and one large eye- possibly a reference to Oiwa.
19.6
Yotsuya Kaidan and ukiyo-e
Being a popular Kabuki play, Yotsuya Kaidan soon became a popular subject for ukiyo-e artists as well. * [6] In 1826, the same year the play opened at Sumiza Theater in Osaka, Shunkosai Hokushu produced The Ghost of Oiwa. She is recognizable by her drooping eyes and partial baldness. An unusual image featuring a still-living Oiwa was depicted as one of the New Forms of Thirty-Six Ghosts by Tsukioka Yoshitoshi. Katsushika Hokusai created perhaps the most iconic image of Oiwa, in his series One Hundred Ghost Stories, in which he drew the face of her angry spirit merged with a Hokusai 's image of Oiwa emerging from the Lantern. temple lantern. Shunkosai Hokuei made a visual quotation of Hokusai's design in the illustration above, includOiwa is an onryō, a ghost who seeks vengeance. Her ing Iemon as he turns to meet the apparition, drawing strong passion for revenge allows her to bridge the gap his sword.* [6] The lantern scene is a favorite, also being back to Earth. She shares most of the common traits carved into netsuke.* [7] This image of Oiwa appears to of this style of Japanese ghost, including the white dress give Akari Ichijou a cup of tea in her victory pose in the representing the burial kimono she would have worn, the arcade game The Last Blade. long, ragged hair and white/indigo facethat marks a ghost Utagawa Kuniyoshi illustrated the scene at Hebiyama, in kabuki theater. showing a still-lantern-headed Oiwa coming for Iemon, There are specific traits to Oiwa that set her apart physi- surrounded by snakes and smoke. cally from other onryo. Most famous is her left eye, which droops down her face due to poison given her by Iemon. This feature is exaggerated in kabuki performances to 19.7 Film adaptations give Oiwa a distinct appearance. She is often shown as partially bald, another effect of the poison. In a spectac- The first film adaptation was made in 1912, and it was ular scene in the kabuki play, the living Oiwa sits before filmed some 18 times between 1913 and 1937. A notable a mirror and combs her hair, which comes falling out due adaptation was Shimpan Yotsuya Kaidan by Itō Daisuke, to the poison. This scene is a subversion of erotically- one of the foremost Japanese directors of his time. A charged hair combing scenes in kabuki love plays. * [3] 1949 adaptation, Yotsuya Kaidan I & II , by Kinoshita The hair piles up to tremendous heights, achieved by a Keisuke removed the ghostly elements and presented stage hand who sits under the stage and pushes more and Oiwa as an apparition of her husband's guilty psyche.* [8] more hair up through the floor while Oiwa is combing. The Shintoho studio produced several versions, includOiwa is supposedly buried at a temple, Myogyo-ji, in
ing Yotsuya Kaidan (四⾕怪談 Yotsuya Kaidan), a 1956
49
19.10. REFERENCES
black and white film by Masaki Mōri, and Nobuo Naka- 19.10 References gawa's 1959 Tokaido Yotsuya kaidan , which is often considered the finest screen adaptation of the story. [1] Kennelly, Paul. “Realism in Kabuki of the early nineToho produced a version in 1966 directed by Shirō Toyoda and starring Tatsuya Nakadai that was released as Illusion of Blood abroad. In 1994, Kinji Fukasaku returned to the Kabuki roots and combined the stories of Chūshingura and Yotsuya Kaidan into the single Crest of Betrayal .* [8] There have also been adaptations on television. Story 1 of the j-drama Kaidan Hyaku Shosetsu was a version of Yotsuya Kaidan,* [9] and episodes 1-4 of Ayakashi: Samurai Horror Tales , a 2006 anime TV series, were also a retelling of the story.
teenth century. A case study”. Proceedings of the Pacific Rim Conference in Transcultural Aesthetics : 157. [2] “Yotsuya Kaidan”. Retrieved July 6, 2006. [3] Brazell, Karen (1998). Traditional Japanese Theater: An Anthology of Plays . James T. Araki (trans.). Columbia University Press. ISBN 0-231-10872-9. [4] “Yotsuya Kaidan”. Retrieved February 22, 2006. [5] Plutschow, Herbert E. (1990). Chaos and Cosmos: Ritual in Early and Medieval Japanese Literature. BRILL. ISBN 90-04-08628-5.
By tradition, production crews adapting the story for film or stage visit Oiwa's gravesite in Myogyoji Temple in Sugamo, Toshima-ku, Tokyo to pay their respects, as an urban legend states that injuries and fatalities will befall the cast if they do not.
[6] Sumpter, Sara L. (2006). “From scrolls to prints to moving pictures: iconographic ghost imagery from premodern Japan to the contemporary horror film” (PDF). Retrieved 2010-12-04.
19.8
[8] “Yotsuya-Kaidan on Film”. Wild Realm Review. Retrieved July 28, 2006.
See also
•
Botan Doro
•
Bancho Sarayashiki
•
Kaidan
[7] Bush, Laurence C. (2001). Asian Horror Encyclopedia . Writers Club Press. ISBN 0-595-20181-4.
[9] Kaidan Hyaku Shosetsu [怪談百物語] :: jdorama.com •
• •
Onryō
•
Obake
•
Yūrei
•
Japanese mythology
•
Japanese Horror
•
•
•
•
Addiss, Steven, Japanese Ghosts and Demons , USA, George Braziller, Inc., 1986, ISBN 0-8076-1126-3 Araki, James T., Traditional Japanese Theater: An Anthology of Plays , USA, Columbia University Press, 1998 Iwasaka, Michiko, Ghosts and the Japanese: Cultural Experience in Japanese Death Legends , USA, Utah State University Press 1994, ISBN 0-87421179-4 Ross, Catrien, Supernatural and Mysterious Japan , Tokyo, Japan, Tuttle Publishing, 1996, ISBN 4900737-37-2
Ayakashi: Samurai Horror Tales: an anime which animates the story.
•
“Yotsuya Kaidan”. Retrieved July 6, 2006.
Vengeful ghost
•
“Yotsuya Kaidan”. Retrieved February 22, 2006.
•
19.9
Notes •
1. ^ Iemon is sometimes romanized as Iyemon, due to Hepburn's old romanization system that rendered e as ye. This romanization gives a more archaic feel to the name (and also makes it less likely to be misread by Westerners as “Lemon”). 2.
is a neighborhood in the southeastern section of Tokyo's Shinjuku ward.
“Yotsuya-Kaidan, A Japanese Ghost Story ”. TOPICS online magazine. Retrieved February 22, 2006. “Yotsuya-Kaidan on Film ”. Wild Realm Review .
Retrieved July 28, 2006.
19.11 •
^ Yotsuya
•
External links
Kaidan Hyaku Shosetsu (Story 1) (2002) at JDorama Chushingura gaiden yotsuya kaidan (1994) at the
Internet Movie Database
50 •
CHAPTER 19. YOTSUYA KAIDAN Masho no natsu - 'Yotsuya kaidan' yori (1981) at the
Internet Movie Database •
Yotsuya kaidan - Oiwa no borei (1969) at the
Internet Movie Database •
Yotsuya kaidan (1966)
at the Internet Movie
Database •
Kaidan Oiwa no borei (1961) at the Internet Movie
Database •
Tōkaidō Yotsuya kaidan (1959) at the Internet
Movie Database •
Yotsuya kaidan (1959)
at the Internet Movie
Database •
Yotsuya kaidan (1949)
at the Internet Movie
Database •
Shinpan Yotsuya kaidan (1928) at the Internet
Movie Database •
⽥中貢太郎「南北の東海道四⾕怪談」& ⽥中貢 太郎「四⾕怪談」 online texts of Yotsuya Kaidan
by Tanaka Kotaro at Aozora Bunko.(Japanese)
Chapter 20
Yuki-onna
A Yuki-onna from Hyakkai-Zukan Yuki Onna ( 雪⼥ ,
snow woman) is a spirit or yōkai in Japanese folklore. She is a popular figure in Japanese litA Yuki-onna from Gazu Hyakki Yakō by Toriyama Sekien erature, manga, and animation. She may also go by such names as yuki-musume “snow girl”,* [1] yuki-onago“snowwench”, yukijorō “snow harlot”,* [1] yuki anesa“snow sis'", yuki-omba“snow granny or snow nanny ”,* [2] yukinba “snow hag”(Ehime),* [2] yukifuri-baba (?) “snowfall hag”* [1](Nagano).* [2]
across the snow, leaving no footprints (in fact, some tales say she has no feet, a feature of many Japanese ghosts), and she can transform into a cloud of mist or snow if threatened.
20.1
20.2
Appearance
Yuki-onna appears on snowy nights as a tall, beautiful woman with long black hair and blue lips. Her inhumanly pale or even transparent skin makes her blend into the snowy landscape (as famously described in Lafcadio Hearn's Kwaidan: Stories and Studies of Strange Things ). She sometimes wears a white kimono,* [3] but other legends describe her as nude, with only her face and hair standing out against the snow. * [4] Despite her inhuman beauty, her eyes can strike terror into mortals. She floats
Behaviour
Some legends say the Yuki-onna, being associated with winter and snowstorms, is the spirit of someone who perished in the snow.* [5] She is at the same time beautiful and serene, yet ruthless in killing unsuspecting mortals. Until the 18th century, she was almost uniformly portrayed as evil. Today, however, stories often color her as more human, emphasizing her ghost-like nature and ephemeral beauty. * [6] In many stories, Yuki-onna appears to travelers trapped 51
52
CHAPTER 20. YUKI-ONNA
in snowstorms, and uses her icy breath to leave them as frost-coated corpses. Other legends say she leads them astray so they simply die of exposure. Other times, she manifests holding a child. When a well-intentioned soul takes the “child”from her, they are frozen in place. * [3] Parents searching for lost children are particularly susceptible to this tactic. Other legends make Yuki-onna much more aggressive. In these stories, she often invades homes, blowing in the door with a gust of wind to kill residents in their sleep (some legends require her to be invited inside first).
not age. One night, after the children were asleep, Minokichi said to Oyuki: “Whenever I see you, I am reminded of a mysterious incident that happened to me. When I was young, I met a beautiful young lady like you. I do not know if it was a dream or if she was a Yuki-onna...”
After finishing his story, Oyuki suddenly stood up, and said “That woman you met was me! I told you that I would kill you if you ever told anyone about that incident. However, I can't kill you because of our children. Take care of ourchildren... " Then she melted anddisappeared. What Yuki-onna is after varies from tale to tale. Some- No one saw her again. times she is simply satisfied to see a victim die. Other times, she is more vampiric, draining her victims' blood or“life force.”She occasionally takes on a succubus-like manner, preying on weak-willed men to drain or freeze 20.3 In popular culture them through sex or a kiss. * [3] In Kwaidan, a 1964 Japanese anthology ghost film. Like the snow and winter weather she represents, Yukionna has a softer side. She sometimes lets would-be vicTales from the Darkside: The Movie, a 1990 Ameritims go for various reasons. In one popular Yuki-onna can horror anthology film, features the story, Lover's legend, for example, she sets a young boy free because Vow, which is based on Lafcadio Hearn's “Yukiof his beauty and age. She makes him promise never to Onna”story. Instead of a Snow Woman, however, speak of her, but later in life, he tells the story to his wife the protagonist's wife is secretly a Gargoyle. who reveals herself to be the snow woman. She reviles him for breaking his promise, but spares him again, this In The Snow Woman (Kaidan yukijorou) , a 1968 time out of concern for their children (but if he dares misJapanese film. treat their children, she will return with no mercy. Luckily for him, he is a loving father). In some versions, she In Nurarihyon no Mago, a Yuki Onna is a type of chose not to kill him because he told her, which she did youkai who hails from the Tono region. One of not treat as a broken promise (technically, Yuki-Onna * the most prominent members of the main characherself is not a human, and thus did not count). [6] In a ter Rikuo Nura's Hyakki Yakō is a Yuki Onna, who similar legend, Yuki-onna melts away once her husband usually accompanies him at school undercover using discovers her true nature. However, she departs to the the name Tsurara Oikawa. afterlife afterward the same way. •
•
•
•
•
20.2.1
Lafcadio Hearn's version
A long time ago, there lived two woodcutters, Minokichi and Mosaku. Minokichi was young and Mosaku was very old. One winter day, they could not come back home because of a snowstorm. They found a hut in the mountain and decided to sleep there. On this particular evening, Mosaku woke up and found a beautiful lady with white clothes. She breathed on old Mosaku and he was frozen to death. She then approached Minokichi to breathe on him, but stared at him for a while, and said, “I thought I was going to kill you, the same as that old man, but I will not, because you are young and beautiful. You must not tell anyone about this incident. If you tell anyone about me, I will kill you. ” Several years later, Minokichi met a beautiful young lady, named Oyuki (yuki =“snow”) and married her. She was a good wife. Minokichi and Oyuki had several children and lived happily for many years. Mysteriously, she did
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In a segment of Akira Kurosawa's 1990 film Dreams , a team of mountain climbers gets caught in a blizzard. After the other men lose consciousness, the last conscious man encounters a beautiful woman, possibly Yuki Onna but never directly referenced as such, who attempts to lure him to sleep and death. In Vampire Princess Miyu, the character Reiha is a Yuki Onna. Inthe Bleach anime, a Zanpakuto spirit named Sode no Shirayuki (the sword is owned by Rukia Kuchiki) is depicted as a Yuki Onna with near total mastery of ice. In Rosario + Vampire , the character Mizore Shirayuki is a teenage Yuki Onna * [7] described as a snow fairy.* [8] In Akazukin ChaCha, Teacher Oyuki, Banana class's substitute teacher is a Yuki Onna.
53
20.4. SEE ALSO
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While clearly stated to be an alien princess, Oyuki from Urusei Yatsura is based on yuki-onna. In Dororon Enma-kun, the character Yukiko-Hime is a Yuki Onna.
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In MythQuest , a 1990s Canadian TV show, Yuki Onna is featured in Episode 4 “Minokichi”. The manga Jigoku Sensei Nube features a yuki-onna named Yukime who falls in love with and eventually marries the titular character. In Ranma ½ , she is responsible for a snow blizzard and is accompanied by a Snow Monster Guardian. Also portrayed both as a child bearing a flute and a female adult. American progressive metal band Symphony X has a song entitled “Lady of the Snow ”, based on the character Yuki-Onna. * [9] It can be found on the album Twilight in Olympus .
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In Inu x Boku SS , Nobara Yukinokouji (Renshou Sorinozuka's secret service agent) is a Yuki Onna.
In Shinobi 3D , the first boss is Yuki Onna. •
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In Final Fantasy VII , Snow - a woman living alone in Great Glacier, who leaves behind Alexander Materia if defeated, is most probably based on Yuki-Onna.
In the InuYasha anime, a Yuki Onna serves as the episode antagonist of Season 5, Episode 2 (Epi#101), The Snow from Seven Years Past . In BlazBlue, a popular fighting game, one of the main characters, Jin Kisaragi's weapon of choice is a nihontō called Yukianesa, which allows him to use ice attacks. Inthe7th Touhou Project game, Perfect Cherry Blossom, the stage one boss Letty Whiterock is a Yukionna. In Demashita! Powerpuff Girls Z , she made an appearance in Episode 9“Fuzzy in Love”when Fuzzy Lumpkins mistook her for Ms. Bellum. In Yu Yu Hakusho , the character Yukina (Hiei's younger sister) was born in an Snow Women onlyvillage. In One Piece , Monet (Caesar Clown's assistant) is nicknamed Yuki-onna by her use of the Snow Snow Fruit. In the Pokémon franchise, Froslass is based on the Yuki-onna. The controversial Pokémon Jynx is also based, in part in Yuki-onna. Like Yuki-onna, Jynx has ice-manipulation and no feet.
•
In The Girl Who Leapt Through Space , two characters mistake Itsuki Kannagi to be a Yuki-Onna because their space vessels frost as they pass near hers. In Nura: Rise of the Yokai Clan , Yuki-Onna is herself In Yu-Gi-Oh!, there are two cards based on a YukiOnna; “Mischief of the Yokai ”and “Yuki-onna of the Ghostrick”. In "The Causal Angel" by Hannu Rajaniemi, YukiOnna appears as a witch in a zoku Realm, as a symbol for the pellegrini. In "Yume Nikki", one of the effects Madotsuki can collect turns her into a Yuki-Onna, and will make it start to snow. In "Megami Tensei", the demon called Yuki Jyorou is based on Yuki Onna and in "Shin Megami Tensei: Strange Journey" she is referred to as “a type of YukiOnna”. YukiOnnaisalsoademoninthe"Shin Megami Tensei: Devil Children" spin off series. In "Hakkenden: Eight Dogs of the East", Yuki-hime is a yuki-onna.
20.4 •
See also
Ghosts in Mesopotamian religions
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Jack Frost
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Selkie
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Shirahime-Syo
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The Snow Queen (tale)
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White Lady (ghost)
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Yama-uba (“mountain crone")
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Yeti (cryptid)
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Yurei
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Crane Wife
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Swan maiden
54
CHAPTER 20. YUKI-ONNA
20.5
References
[1] Konno 1981, cited by Hirakawa, Sukehiro (平川祐弘) (1992), ⼩泉⼋ : と研究 (Koizumi Yakumo: kaisō to kenkyū) (snippet), Kodansha, p. 227, quote:" 雪⼥の 名称は雪娘、雪⼥郎、雪婆、雪降婆、シッケンケン など..”
[2] Furuhashi 1992 [3] Yuki-onna at japanese1-2-3.com [4] Seki, Seigo Seki (1963), Folktales of Japan , p. 81, University of Chicago, ISBN 0-226-74614-3 [5] Smith, Richard Gordon, “The Snow Ghost” Chapter XLIX of Ancient Tales and Folk-lore of Japan at sacredtexts.com [6] Kwaidan - Yuki-onna (Snow Woman) at www.sarudama. com [7] " ジャンプ SQ.［ロザリオとバンパイア seasonII ］ 池⽥晃久" [Jump Square Rosario + Vampire season II] (in Japanese). Jumpsq.shueisha.co.jp. Retrieved 201402-21. [8] “Rosario+Vampire, Vol. 5”. Viz Media. Retrieved March 26, 2013. [9] Miller, Thomas et al. “Symphony X FAQ”. Symphony X Official Website . Retrieved 29 September 2012. •
•
Furuhashi, Nobutaka (古橋信孝) (1992), " 雪⼥伝 説", in Isamu Yoshinari(吉成勇)ed., Nihon 'Shinwa Densetsu' Sōran (⽇本「神話・伝説」総覧 ), 歴史 読本特別増刊・事典シリーズ , Shinjinbutsu Orai sha (新⼈物往来社 ), pp. 276–277, ISBN 978-4404-02011-6 Konno, Ensuke ( 今 野 円 輔) (1981), ⽇ 本 怪 談 集 妖 怪 (Nihon kaidanshū yōkai hen), Gendai Kyoiku bunko, Shakai Shisho sha, pp. 4–, ASIN B000J98U1S, ISBN 978-4-390-11055-6
20.6 •
•
External references
Yuki Onnna – The Snow Woman at hyakumonogatari.com (English). An article that references Yuki Onna in the movies Japanzine By Jon Wilks
Chapter 21
Yūrei Yūrei (幽霊) are figures in Japanese folklore, analogous
Ukiyo-e artist Maruyama Ōkyo created the first known to Western legends of ghosts. The name consists of two example of the now-traditional yūrei, in his painting The kanji, 幽 (yū), meaning “faint”or “dim”and 霊 (rei ), Ghost of Oyuki . meaning “soul”or “spirit.”Alternative names include Today, the appearance of yūrei is somewhat uniform, in亡霊 (Bōrei) meaning ruined or departed spirit, 死霊 stantly signalling the ghostly nature of the figure, and as(Shiryō) meaning dead spirit, or the more encompassing suring that it is culturally authentic. 妖怪 (Yōkai) or お化け (Obake). Like their Chinese and Western counterparts, they are thought to be spirits kept from a peaceful afterlife.
21.1
•
signifying the white burial kimono used in Edo period funeral rituals. In Shinto, white is a color of ritual purity, traditionally reserved for priests and the dead. This kimono can either be a katabira (a plain, white, unlined kimono) or a kyokatabira (a white katabira inscribed with Buddhist sutras). They sometimes have a hitaikakushi (lit.,“forehead cover”), which is a small white triangular piece of cloth tied around the head.
Japanese afterlife
According to traditional Japanese beliefs, all humans have a spirit or soul called a 霊魂 (reikon ). When a person dies, the reikon leaves the body and enters a form of purgatory, where it waits for the proper funeral and post-funeral rites to be performed, so that it may join its ancestors. If this is done correctly, the reikon is believed to be a protector of the living family and to return yearly in August during the Obon Festival to receive thanks. However, if the person dies in a sudden or violent manner such as murder or suicide, if the proper rites have not been performed, or if they are influenced by powerful emotions such as a desire for revenge, love, jealousy, hatred or sorrow, the reikon is thought to transform into a yūrei, which can then bridge the gap back to the physical world.
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Black hair: Hair
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Hands and feet: A yūrei's hands dangle lifelessly
of a yūrei is often long, black and disheveled, which some believe to be a trademark carried over from kabuki theater, where wigs are used for all actors. This is a misconception: Japanese women traditionally grew their hair long and wore it pinned up, and it was let down for the funeral and burial. from the wrists, which are held outstretched with the elbows near the body. They typically lack legs and feet, floating in the air. These features originated in Edo period ukiyo-e prints, and were quickly copied over to kabuki. In kabuki, this lack of legs and feet is often represented by using a very long kimono or even hoisting the actor into the air by a series of ropes and pulleys.
The yūrei then exists on Earth until it can be laid to rest, either by performing the missing rituals, or resolving the emotional conflict that still ties it to the physical plane. If the rituals are not completed or the conflict left unresolved, the yūrei will persist in its haunting. •
21.2
White clothing: Yūrei are usually dressed in white,
Appearance
Yūrei are frequently depicted as being accompanied by a pair of floating flames or will o' the wisps (hitodama in Japanese)in eerie colors such as blue, green, or purple. These ghostly flames are separate parts of the ghost rather than independent spirits.
Hitodama:
In the late 17th century, a game called Hyakumonogatari Kaidankai became popular, and kaidan increasingly became a subject for theater, literature and other arts. At this time, they began to gain certain attributes to distinguish themselves from living humans, making it easier to 21.3 spot yūrei characters. 55
Classifications
56
CHAPTER 21. YŪREI
21.3.1
Yūrei
While all Japanese ghosts arecalled yūrei, within that category there are several specific types of phantom, classified mainly by the manner they died or their reason for returning to Earth. •
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Onryō: Vengeful ghosts who come back from purgatory for a wrong done to them during their lifetime. Ubume: A mother ghost who died in childbirth, or died leaving young children behind. This yūrei returns to care for her children, often bringing them sweets.
21.3.4
Obake
Yūrei often fallunder the general umbrella term of obake, derived from the verb bakeru, meaning“to change"; thus obake are preternatural beings who have undergone some sort of change, from the natural realm to the supernatural. One of Japan's earliest and foremost folklorists, Kunio Yanagita, made a clear distinction between yūrei and obake in his seminal Yokaidangi (妖怪談義 ; Lectures on Monsters). He claimed that yūrei haunt a particular person, while obake haunt a particular place, but when looking at typical kaidan, this does not appear to be true. Yūrei such as Okiku haunt a particular place ̶in Okiku's case, the well where she died ̶and continue to do so long after the person who killed them has died.
Goryō: Vengeful ghosts of the aristocratic class, especially those who were martyred.
21.4
Hauntings
21.4.1
Famous hauntings
Funayūrei: The ghosts of those who died at sea. These ghosts are sometimes depicted as scaly fishlike humanoids and some may even have a form sim- Yūrei do not wander at random, but generally stay near a specific location, such as where they were killed or where ilar to that of a mermaid or merman. their body lies, or follow a specific person, such as their Zashiki-warashi: The ghosts of children, often mis- murderer, or a beloved. They usually appear between 2 and 3 a.m, the witching hour for Japan, when the veils chievous rather than dangerous. between the world of the dead and the world of the living Samurai Ghosts: Veterans of the Genpei War who are at their thinnest. fell in battle. Warrior Ghosts almost exclusively ap- Yūrei will continue to haunt that particular person or pear in Noh Theater. Unlike most other yūrei, these place until their purpose is fulfilled, and they can move on ghosts are usually shown with legs. to the afterlife. However, some particularly strong yūrei, specifically onryō who are consumed by vengeance, con Seductress Ghosts: The ghost of a woman or man tinue to haunt long after their killers have been brought who initiates a post-death love affair with a living to justice. human, as seen in Botan Dōrō.
21.3.2
Buddhist ghosts
There are two types of ghosts specific to Buddhism, both being examples of unfullfilled earthly hungers being carried on after death. They are different from other classifications of yūrei due to their wholly religious nature. •
Gaki
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Jikininki
21.3.3
Ikiryō
Some famous locations that are said to be haunted by yūrei are the well of Himeji Castle, haunted by the ghost of Okiku, and Aokigahara, the forest at the bottom of Mt. Fuji, which is a popular location for suicide. A particularly powerful onryō, Oiwa, is said to be able to bring vengeance on any actress portraying her part in a theater or film adaptation.
21.5
Exorcism
The easiest way to exorcise a yūrei is to help it fulfill its purpose. When the reason for the strong emotion binding the spirit to Earth is gone, the yūrei is satisfied and can move on. Traditionally, this is accomplished by family members enacting revenge upon the yūrei's slayer, or when the ghost consummates its passion/love with its The most famous example of an ikiryo is Rokujo no intended lover, or when its remains are discovered and Miyasundokoro, from the novel The Tale of Genji . given a proper burial with all rites performed. In Japanese folklore, not only the dead are able to manifest their reikon for a haunting. Living creatures possessed by extraordinary jealousy or rage can release their spirit as an ikiryō ⽣き霊, a living ghost that can enact its will while still alive.
57
21.8. EXTERNAL LINKS
The emotions of the onryō are particularly strong, and they are the least likely to be pacified by these methods. On occasion, Buddhist priests and mountain ascetics were hired to perform services on those whose unusual or unfortunate deaths could result in their transition into a vengeful ghost, a practice similar to exorcism. Sometimes these ghosts would be deified in order to placate their spirits. Like many monsters of Japanese folklore, malicious yūrei are repelled by ofuda ( 御札 ), holy Shinto writings containing the name of a kami. The ofuda must generally be placed on the yūrei's forehead to banish the spirit, although they can be attached to a house's entry ways to prevent the yūrei from entering.
21.6
See also
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Bancho Sarayashiki
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Botan Doro
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Hungry ghost
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Inoue Enryo
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Japanese mythology
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Japanese Urban Legends
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J-Horror
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Kaidan
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Kayako Saeki
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Sadako Yamamura
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Yokai
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Yotsuya Kaidan
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Yūrei zaka
21.7 •
References
Iwasaka, Michiko and Toelken, Barre. Ghosts and the Japanese: Cultural Experiences in Japanese Death Legends , Utah State University Press, 1994.
ISBN 0-87421-179-4 •
Ghoul Power - Onryou in the Movies Japanzine By Jon Wilks
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Tales of Ghostly Japan Japanzine By Zack Davisson
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Japanese Ghosts Haunted Times by Tim Screech
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Yūrei-ga gallery at Zenshoan Temple
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Information on The Kaidan Suite, a musical interpretation of Japanese ghost stories by the Kitsune Ensemble. Hyakumonogatari.com Translated yurei stories from Hyakumonogatari.com
21.8 •
External links
What is the White Kimono Japanese Ghosts Wear?
58
CHAPTER 21. YŪREI
Tukioka yositosi's “ Yūrei ”
Chapter 22
Yūrei-zu fer to spirit beings. Other terms include: obake (お 化け), yōkai ( 妖怪), bōrei ( 亡霊 ), and shiryō (死霊 ). There is a long tradition of belief in the supernatural in Japan stemming from a variety of influences. Imported sources include Buddhism, Taoism and Chinese folklore. The most notable influence, however, is Shintō, a native Japanese animistic religion which presupposes that our physical world is inhabited by eight million omnipresent spirits. * [3] Japanese ghosts are essentially spirits “on leave”from hell in order to complete an outstanding mission. * [4] The souls (reikon - 霊魂 ) of those who die violently, do not receive proper funerary rites, or die while consumed by a desire for vengeance, do not pass peacefully to join the spirits of their ancestors in the afterlife. Instead, their reikon souls are transformed into ayurei souls, which can travel back to the physical world. * [5] According to Buddhist belief, the journey from the world of the living (konoyo - この 世) to that of the dead ( anoyo - あの 世) takes 49 days, and it is in this limbo-like phase that they can attend to unresolved issues. * [6] There is a close relationship between the degree of an individual ʼs suffering in life and the severity of their actions in the afterlife.* [7] While their intentions are not always evil, the results of their actions are almost always damaging for the humans involved.* [4] Belief held that a ghost could only receive release through the prayers of a living individual that his/her soul be allowed to pass into the underworld.* [3] Yūrei by Sawaki Sūshi (1737) Yūrei-zu (幽霊図 ) are a genre of Japanese art consisting
of painted or woodblock print images of ghosts, demons and other supernatural beings. They are considered to be a subgenre of fūzokuga, “pictures of manners and customs.”* [1] These types of art works reached the peak of their popularity in Japan in the mid- to late 19th century.* [2]
22.2
Historical background
Images of supernatural beings, as well as gory and grotesque scenes exist on Japanese painted scrolls going back to the medieval period. This tradition continued through the centuries, providing a foundation for yūrei zu, as well as for violent chimidoro-e (“bloody pictures” - ⾎みどろ絵) and muzan-e ( “cruel pictures ”- 無残 絵) which were to become popular in Edo Japan.* [8] Al22.1 Yūrei though there are prior examples, yūrei-zu reached the pinnacle of their popularity in the mid- through late 19th Literally translatable as ʻfaint (yū - 幽) spirit (rei - 霊),ʼ century,* [2] along with ghost themed kabuki plays and yūrei is just one of several Japanese words used to re- ghost tales (kaidan - 怪談).* [1] Scholars link the “per59
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CHAPTER 22. YŪREI-ZU
theatre. * [3] As kabuki began to flourish throughout the later 1700s, so too did the number of dramas based on ghost stories, particularly those involving vengeful female ghosts returning to punish their wrong-doers. * [3] Kabuki , like ukiyo-e, was a populist art form, which aimed to satisfy the dramatic tastes of a “proletarian clientele”: the rising working and middle classes in Edo (present-day Tokyo).* [12] Kabuki and ukiyo-e shared a close kinship, as woodblock artists attempted to tap into “the publicʼs ever-increasing appetite for tales of the bizarre and thrilling, ”and share the kabuki audience demographic. * [1] As Sarah Fensom notes, “that prints of the macabre, the supernatural and the grotesque were so frequently designed and distributed is for the most part a greater reflection of 19th century Japanese tastes than of the agenda of the artists.”* [13] Artists produced images of ghosts as well as of actors in ghost roles, effecting a conflation of three prevailing trends in ukiyo-e of the period: depictions of the female form ( bijin-ga), depictions of supernatural or macabre themes, and depictions of celebrated actors ( kabuki-e or shibai-e).
22.4 Shimobe Fudesuke andthe Ghost of theWoman in theWaterfall by Tsukioka Yoshitoshi (c. 1865)
sistent popularity”* [9] of the occult to the“unsettled social conditions”prevailing during the late Edo, * [2] which included the oppressive Tokugawa regime, the beginnings of westernization, and a number of natural disasters. * [10]* [11]
22.3 Yūrei-zu and theatre
Censorship
In an attempt to return Japan to its feudal, agrarian roots, the Tokugawa regime in 1842 instituted the Tempō Reforms (Tempō no kaikaku - 天保の改⾰), a collection of laws governing many aspects of everyday life. In addition to the economy, the military, agriculture and religion, the Reforms reached into the world of art. * [14] The intent of the Reforms was essentially to valorize frugality and loyalty,* [15] thus ostentatious or morally dubious images such as depictions of geisha, oiran courtesans and kabuki actors were banned. * [16] According to an 1842 decree aimed at print publishers: “To make woodblock prints of Kabuki actors, courtesans and geisha is detrimental to public morals. Henceforth the publication of new works [of this kind] as well as the sale of previously procured stocks is strictly forbidden. In future you are to select designs that are based on loyalty and filial piety and which serve to educate women and children, and you must insure that they are not luxurious. ”* [15]
Given this climate of censorship, some artists used the yūrei-zu genre“to symbolically and humorously disguise …criticism of the social and political maladies of the day by having fantastic creatures appear as substitutes for real people, especially the ruling elite. ”* [16] Such critiques led the government to subsequently ban both yūrei-zu and ghost plays.* [3] The Tempō Reforms were ultimately unsuccessful,* [17] and the strict regulation of art works was Yoshitoshi ryakuga by Tsukioka Yoshitoshi (1882) no longer enforced after 1845, once the shogunal advisor who had initiated the Reforms left the government.* [18] Japan has long had a vibrant folkloric tradition of ghost As long as the rules remained nominally in effect, some stories, and in the early eighteenth century these began artists invoked clever word- and picture-play to circumto be dramatized for the nō stage and bunraku puppet vent censorship.* [15]
61
22.6. NOTABLE EDO EXAMPLES
22.5 Yūrei-zu physical characteristics
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often accompanied by hitodama (⼈魂), green, blue or purple floating flames transparent or semi-transparent
By nature, they: * [23] •
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are nocturnal avoid running water appear in true ghostly guise when reflected in a mirror or water surface
22.6
Notable Edo examples
22.6.1
The Ghost of Oyuki
The earliest yūrei-zu is considered to be by Maruyama Ōkyo (円 ⼭ 応 挙), founder of the Maruyama school and one of the most significant artists of the 18th century.* [24] The Ghost of Oyuki (Oyuki no maboroshi - お 雪 の 幻) is a silk scroll painting dating to the second half of the 18th century * [25] In Maruyamaʼs naturalistic style,* [26] it depicts a faintly coloured female ghost Kohada Koheiji by Hokusai (date unknown) whose body tapers into transparency. It has been described as an “image of haunting beauty. ”* [27] AcThe ghosts featured in Edo period ukiyo-e come in vari- cording to a scroll box inscription by a one-time owner, ous forms. They can appear as animal creatures both real the subject of the painting is Maruyama ʼs lover,* [28] and imagined, such as foxes, cats, dragons and demons. a geisha who died young. * [27] Her ghost is said to have They can also be the discontent spirits of male war- visited the artist in a dream and inspired him to paint her riors.* [19] Most of the ghosts featured, however, tend to portrait.* [27] be female, “specifically, ”as Donald Richie notes, “dissatisfied females. ”* [20] The subjects in yūrei-zu typically correspond to a very 22.6.2 Other Edo artists specific set of physical characteristics: * [21]* [22] All of the pre-eminent ukiyo-e artists of the later Edo long, straight black hair, which is often unkempt period produced yūrei-zu, including Kunisada, Hokusai * [29] and Utagawa Kuniyoshi, who“designed the largest white or pale-coloured kimono akin to the plain number of prints portraying ghosts as well as other white katabira ( 帷⼦) or kyōkatabira ( 経帷⼦ ) fu- strange, unusual and fantastic creatures.”* [16] nerary kimono Another major producer of yūrei-zu was Tsukioka Yoshi long, flowing sleeves toshi who reputedly had personal encounters with ghosts some are depicted with a triangular hitaikakushi (額 in 1865 and 1880. In 1865 he produced the series One Hundred Ghost Stories of China and Japan (Wakan hyaku 隠) forehead cloth also associated with Japanese fumonogatari ), his first series to feature ghosts. The orignerary tradition inal series, which was based on a popular game of the period involving ghost stories, included one hundred im a thin, fragile frame ages; however, only twenty-six were published. * [30] His outstretched arms, sometimes waving or beckoning final print series, New Forms of 36 Ghosts ( Shinkei san jūrokuten), was “so freakishly popular, ”according to hands hanging limply from the wrists Sarah Fensom,“that the blocks from which it was printed no body below the waist wore out.”* [8] •
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CHAPTER 22. YŪREI-ZU
22.7
Contemporary examples
Although patently no longer as pervasive as duringthelate Edo period, yūrei-zu and contemporary variations continue to be produced by Japanese artists in various media. One prominent example is the nihonga painter Fuyuko Matsui (b. 1974), whose ghostly images are described as “beautiful and eerie, ”* [31] “dark [and] Gothic, ” and “disturbing and mesmerizing. ”* [32] Matsui has identified a goal of her works as imparting “a condition that maintains sanity while being close to madness. ” * [32] Matsuiʼ s colour on silk hanging scroll“Nyctalopia” (2005) is particularly reminiscent of classic yūrei-zu such as Maruyamaʼs “The Ghost of Oyuki. ”* [33]
[7] Jordan 1985, 27 [8] Fensom 2012 [9] Bell 2004, 140 [10] See Addis 1985, 178; Rubin 2000; Harris 2010, 156; Schaap 1998, 17 [11] In addition to floods and earthquakes, Japan was blighted by a series of droughts which led to twenty periods of famine between 1675 and1837 (Dolan andWorden1994) [12] Addis 1985, 179 [13] 2013 [14] Encyclopedia Britannica, Tempō Reforms
Another artist whose works echo yūrei-zu is Hisashi Tenmyouya (b. 1966). Between 2004 and 2005, Tenmyouya completed a series of acrylic on wood paintings entitled New Version of Six Ghost Stories (新形六怪撰). The six images are reworkings of famous Japanese ghost stories, such as Tokaido Yotsuya Ghost Story and Kohata Koheiji Ghost Story, which were rendered in woodblocks by Edo artists.* [34]
[15] The Fitzwilliam Museum
Also creating contemporary yūrei-zu in a traditional style is American-born, Japanese-resident artist Matthew Meyer. His Japanese Yōkai series is collected in his illustrated book The Night Parade of One Hundred Demons . According to Meyer, the intention of his paintings is “to recreate the feeling of old Japanese woodblock prints while adding a contemporary illustrative touch. ”* [35]
[20] 1983, 6
[16] Harris 2010, 156 [17] Encyclopaedia Britannica, Tempō Reforms [18] Jesse 2012, 95 [19] Fensom 2013
[21] Jordan 1985, 25 [22] Davisson 2012 [23] Richie 1983, 6 [24] Encyclopaedia Britannica, Maruyama Ōkyo
The influence of yūrei-zu is also evident in the manga [25] Jordan suggests the painting was produced when Maruyama was “in his mid-forties”(1985, 33n), which of Shigeru Mizuki (b. 1922) and Hiroshi Shiibashi (b. would make it c. 1778; however, Stevenson states that it 1980), both of whom are renowned for their works dealwas completed for the shogun in or around 1760 (1983, ing with traditional Japanese aspects of the supernatural. 10), and yet another source believes it to date from 1750 (Chin Music Press).
22.8 •
•
•
See also
Edo period in popular culture Satori (folklore) List of legendary creatures from Japan
22.9
Notes
[26] Apocryphally, Maruyama once painted such a realistic ghost image that it came to life and terrified him. The incident is immortalized in a painting by Taiso Yoshitoshi (1839-1892) entitled 'Yoshitoshi Ryakuga'. (Art History Reference) [27] Jordan 1985, 26 [28] Stevenson suggests that in the absence of the subject, Maruyamaʼs dying aunt acted as his model (1983, 10) [29] See the 1831 series One Hundred [Ghost] Tales ( Hyaku monogatari ) [30] Chiappa, J. Noel and Levine, Jason M. 2009
[1] Schaap 1998, 17
[31] Japan Echo
[2] Addis 1985, 178
[32] Liddell
[3] Rubin 2000
[33] See image at http://www.matsuifuyuko.com/works-e/ index.html
[4] Richie 1983, 7 [5] Monstrous.com
[34] See images at http://www3.ocn.ne.jp/~{}tenmyoya/ paintings/0_paintings.html
[6] Iwasaki and Toelken 1994, 15
[35] http://matthewmeyer.net/
63
22.10. REFERENCES
22.10 •
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Addis, Stephen. “Conclusion: The Supernatural in Japanese Art.”In Japanese Ghosts and Demons: Art of the Supernatural , edited by Stephen Addis, 177179. New York: George Braziller Inc., 1985.
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64
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22.11 •
External links
http://www.youtube.com/watch?v=JnveMIhKnSA - link to YouTube video of interview with Mizuki Shigeru on Japan's ghosts
22.11. EXTERNAL LINKS
Female Ghost by Kunisada (1852)
65
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22.12
Text and image sources, contributors, and licenses
22.12.1
Text
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22.12.2 •
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http://upload.wikimedia.org/wikipedia/commons/6/6d/Amaterasu_cave_wide.jpg License: Public domain Contributors: ? Original artist: ?
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File:Book_collection.jpg Source: http://upload.wikimedia.org/wikipedia/commons/3/3f/Book_collection.jpg License: CC
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Contributors: ? Original artist: ? •
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main Contributors: scanned from ISBN 4-5829-2057-8. Original artist: Yosa Buson (与謝蕪村, Japanese, *1716, †1784) •
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Tango! Desktop Project . Original artist:
The people from the Tango! project. And according to the meta-data in the file, specifically: “Andreas Nilsson, and Jakub Steiner (although minimally).” •
File:Female_Ghost.JPG Source: http://upload.wikimedia.org/wikipedia/commons/a/af/Female_Ghost.JPG License: Public domain Con-
tributors: ? Original artist: Utagawa Kunisada •
File:Flag_of_Japan.svg Source: http://upload.wikimedia.org/wikipedia/en/9/9e/Flag_of_Japan.svg License: ? Contributors: ? Original
artist: ? •
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http://upload.wikimedia.org/wikipedia/commons/3/ Source: 36/Funazu_-_Yoshitoshi_ryakuga_-_Walters_95350.jpg License: Public domain Contributors: Walters Art Museum:
Home page
Info about artwork Original artist: Tsukioka Yoshitoshi
File:Funazu_-_Yoshitoshi_ryakuga_-_Walters_95350.jpg
File:Hellish_Love_coverart.jpg Source: http://upload.wikimedia.org/wikipedia/en/d/dc/Hellish_Love_coverart.jpg License: Fair
use
Contributors:
http://www.rareflix.com/images/covers/5060014390097.jpg Original artist: ? •
File:Hokuei_oiwa_lantern.gif Source: http://upload.wikimedia.org/wikipedia/en/b/b2/Hokuei_oiwa_lantern.gif License: PD-US Con-
tributors: ? Original artist: ? •
File:Hokusai_Kohada_Koheiji.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/64/Hokusai_Kohada_Koheiji.jpg Li-
cense: Public domain Contributors: scanned from ISBN 4-3360-4636-0. Original artist: Katsushika Hokusai (葛飾北斎) •
File:Hokusai_Onryo.jpg Source: http://upload.wikimedia.org/wikipedia/commons/c/c3/Hokusai_Onryo.jpg License: Public
domain
Contributors: scanned from ISBN 4-3360-4341-8. Original artist: Katsushika Hokusai (葛飾北斎) •
File:Hokusai_Sarayashiki.jpg Source: http://upload.wikimedia.org/wikipedia/commons/2/28/Hokusai_Sarayashiki.jpg License: Public
domain Contributors: [1] Original artist: Hokusai •
File:Japan-myth-stub.gif Source: http://upload.wikimedia.org/wikipedia/commons/f/fc/Japan-myth-stub.gif License: Public
domain
Contributors: •
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Oni netsuke front.jpg Original artist:
deerstop. http://upload.wikimedia.org/wikipedia/commons/f/f7/Kuchisake-onna_ conversation_diagram.svg License: CC BY-SA 4.0 Contributors: Own work Original artist: Benjamin Mako Hill
File:Kuchisake-onna_conversation_diagram.svg Source:
File:Kunisada_seals.JPG Source: http://upload.wikimedia.org/wikipedia/commons/9/90/Kunisada_seals.JPG License: CC BY-SA 3.0
Contributors: Own work Original artist: Sianljones •
File:Kunisada_signature.JPG Source: http://upload.wikimedia.org/wikipedia/commons/2/2b/Kunisada_signature.JPG License:
CC
BY-SA 3.0 Contributors: Own work Original artist: Sianljones •
File:Kunisada_title.JPG Source: http://upload.wikimedia.org/wikipedia/commons/6/65/Kunisada_title.JPG License: CC
BY-SA 3.0
Contributors: Own work Original artist: Sianljones •
File:Kuniyoshi_oiwa.jpg Source: http://upload.wikimedia.org/wikipedia/commons/4/43/Kuniyoshi_oiwa.jpg License: Public
domain
Contributors: English Wikipedia Original artist: Kuniyoshi •
File:Kyosai_Funayurei.jpg Source: http://upload.wikimedia.org/wikipedia/commons/9/95/Kyosai_Funayurei.jpg License: Public
do-
main Contributors: scanned from 4-309-61382-9. Original artist: Kawanabe Kyōsai (河鍋暁斎, Japanse, *1831, †1889) •
File:Masasumi_Rikonbyo.jpg Source: http://upload.wikimedia.org/wikipedia/commons/6/67/Masasumi_Rikonbyo.jpg License: Public
domain Contributors: scanned from ISBN 978-4-336-05055-7. Original artist: ⻯斎閑⼈正澄 (Japanese) •
File:Oyuki.jpg Source: http://upload.wikimedia.org/wikipedia/en/6/6b/Oyuki.jpg License: PD-US Contributors:
Found at: http://eee.uci.edu/clients/sbklein/GHOSTS/html/edoghosts/pages/oyuki.html Original artist: Maruyama Ôkyo (1733-1795) •
File:Peony_lantern.jpg Source: http://upload.wikimedia.org/wikipedia/en/f/f1/Peony_lantern.jpg License: PD-US Contributors: ? Orig-
inal artist: ?
Home page 
Info about artwork Original artist: Tsukioka Yoshitoshi