The starting point of the Spring season was on 3/19 in the States, parallell to the starting point of 3/20 in Japan. As the veil of winter is lifted, we should be greeted with warmer weather and the revigorated growth of nature. It’s a gradual process, one that has different phases.
There are some interesting practices of old in Japan for interpreting changes in nature. Recently, I learned of a method called “Nanajūnikō” (七十二候), or “72 Pentads” in English. Derived from ancient China ideaology, it is a climatological way of interpreting the seasonal behavior through a 5-day period started during the early Edo period. In essence, each season undertakes numerous changes, which affects nature and those creatures living within it at certain times during its duration.
The following 15 days represent shunbun (春分), the Spring equinox. Each 5 days are described by a unique phrase, which will be interpreted in English, followed by a short description.
雀始巣 (すずめはじめてすくう) ENGLISH: suzume hajimete sukū (sparrow begins to make its nest) PERIOD: 3/20 ~ 3/24 DESC: At the start of Spring, sparrows make their presence in particular areas, as they build their nests to lay their eggs. In the past, sparrows were common to see around villages, towns, and fields, thus making a natural indicator that Spring had arrived.
Artwork entitled “Fuyō ni suzume” (芙蓉に雀), part of the Hokusai kachō gashū (北斎花鳥画集, Hokusai’s art collection of birds and flowers). We see a sparrow gliding around cotton rose. By Katsushika Hokusai.
桜始開 (さくらはじめてひらく) ENGLISH: sakura hajimete hiraku (cherry blossoms start to spread their leaves) PERIOD: 3/25 ~ 3/29 DESC: Within these next 5 days, cherry blossoms should begin to bloom country-wide. Of course, this is dependent on the conditions of each area and the type of cherry blossoms that grow there.
Artwork titled “Meisho Edo Hyakkei: Sumida-gawa suijn mori massaki” (名所江戸百景 隅田川水神の森真崎). Here, we see cherry blossoms upclose within the grove by the large Sumida river. By Utagawa Hiroshige.
雷乃発声 (かみなりすなわちこえをはっす) ENGLISH: sudden roar of thunder PERIOD: 3/29 ~ 4/3 DESC: There will be this short period where the weather will grow turbulent with precipitation, accompanied by thunder & lightning. It is not limited to rain, as snow and hail may come depending on the area and weather conditions.
Artwork entitled “Hashidate uchu no kaminari” (橋立雨中雷), this scene portrays an area known as Hashidate being pelted by rain while lightning dances in the sky. By Utagawa Kunoyoshi.
While this method is tried & true for many generations, make no mistake that it is dated, for these interpretation on seasonal behavior may not always hold up today. On top of that, modernization and global warming have had an impact on climate changes. Still, it is interesting to study old practices like this and compare the environment around us, both in and outside of Japan. Planning to cover more, if not all, of the 72 Pentads in a future post or project.
It’s 2024! Happy new year! What better way to start than with a post about what Zodiac year is upon us? As stated in early reports, the next sign is the dragon, making 2024 the year of the dragon (辰年, tatsudoshi in Japanese). A mythical creature from lore, it is extremely popular in pop culture due to its strong symbolism of power. Let’s take a look at the dragon sign’s specifics, and how it was used in the past:
Zodiac number: 5th sign
Zodiac character: 辰
Pronunciation: tatsu
Animal/creature: dragon (竜/龍, ryū in Japanese)
Direction: around south-east
Time: Around 8 am / within the 2 hour period 7 am ~ 9 am
Month: 3nd (based on the old calendar)
Ying/Yang: yang (positive or light)
Element: Wood (木)
The dragon is the 5th creature of the 12 Zodiac animals, and falls on the 5th year of the current Zodiac cycle (十二支, Jūnishi in Japanese). The Zodiac system played a significant role in Japan’s society in the past, both symbolically, systematically, and in practical applications. Today, this dependency is not as pronounced due to the modern direction driven by technology society is headed. However, classical rituals & practices such as the Zodiac calendar help keep these ancient lessons alive.
WHAT THE DRAGON SIGN REPRESENTS
Most people who are familiar with Chinese characters would write “龍” or “竜” to represent the dragon sign. However, in reality the character “辰” is the correct sign used in the Zodiac calendar. As mentioned in the other articles that are on the same topic here on Light in the Clouds, the only connection the Zodiac sign has with dragon is pronunciation; when the idea to make it more accessible to the common folks by having a particular creature represent each sign is when the dragon image started to be used.
A creative design of this year’s sign, “tatsu”. From illustAC.
So what is the actual meaning of this year’s sign? Let’s look at what the Chinese character “辰” actually means. The pronunciation of this sign is generally “tatsu” when related to the Zodiac, and its meaning is defined as something shaking or waving¹. This understanding comes from research from classical documents such as “Kansho Ritsurekishi” (漢書 律暦志), an ancient manuscript on Chinese Astrology. This connects with the overall theme of the Zodiac system and its imagery of the cycle of plants growing, where this sign represents a bud that is extending upward from its seed out through the ground, vibrating with life as it takes the shape of a plant.
A popular phrase describing this year used on Japanese sites is ”陽気が動いて、万物が振動しながら活力旺盛になって大きく成長する年”, which translates as “a year to grow healthy & prosper with vitality, as everything in life is blanketed in the flow of positive energy”². This goes hand-in-hand with what the tatsu character expresses for the new year.
FORTUNE FORECAST FOR 2024
Out of the 12 Zodiac animals, the dragon is a mythical creature that has abilities that are far more extraordinary. This plays a part in the type of energy forecast that goes into each dragon year. For this year, the energy of the dragon is positive. Due to this, it is predicted that good fortune awaits everyone in every endeavor they uptake, with positive results being evident with each step in the process.
Those of the dragon sign are viewed as energetic, powerful, and have great vitality³. These individuals are viewed to be destined to achieve great things, including being competent leaders. However, it is also stated that they have a short temper, and to cross individuals like these can bring unwanted trouble. A phrase that best describe this personality is “gekirin ni fureru” (逆鱗に触れる). Full interpretation is “do not touch the scales under the dragon’s throat, lest you want to face its wrath”. We can relate this to angering one’s boss, or a dangerous individual like a gangster, or even our parents. However, this year is viewed as an especially good year, so people of the dragon sign will be less prone to throwing fits.
ADDITIONAL SIDE TO THE ZODIAC YEAR
As mentioned in other articles, the Zodiac calendar isn’t only made up by the 12 Zodiac signs. Now let’s turn to the 10 Stems (十干, Jikkan in Japanese), which also plays a role in the Zodiac calendar. This time around we get “ki-no-e” (甲), which is a character that stands for “shell” or “hard covering”. A commonly used character, it’s usually associated with words that describe something hard and gives fortified protection, such as armor. For a seed, this fits perfectly as well.
There is another meaning for ki-no-e in relations to the auspicious nature of the Zodiac system. Here, it represents a seed, but not interpreted in its physical appearance. Instead, the idea of the seed represents growth, which perfectly aligns with the forecast of this year.
OLD DRAGON SAYINGS
The dragon symbolism is very strong in Asia. On a cultural level, its influence can be seen in almost all walks of life in the past, especially in conversations. It is not unusual to hear phrases and expressions of all types that make reference to this creature to communicate a concept. As one can imagine, there are plenty of interesting old sayings using the dragon in Japanese.
A woodblock print entitled, “Bunji sannen Ōshū Takadachi Gassen Koromogawa yori hakuryū ten e noboru” (文治三年奥州高館合戦自衣川白竜昇天). An auspicious depiction of a white dragon rising up from the Koromo river during the Battle of Takadachi in 1187. By Utagawa Yoshitsuya. From the digital archive of the Shizuoka Prefectural Central Library.
The following are a few examples of dragon-inspired old sayings. I will include the Japanese text and its literal description, followed by its interpreted meaning and further explanation.
・Ryū no hige wo naderu (龍の鬚を撫でる, stroke a dragon’s whiskers) MEANING: Don’t awaken the beast! Don’t go looking for trouble there.
Dragons are known as wise and powerful creatures. At the same time, they can easily come to a wrathful behavior if bothered. Touching their sacred hairs (to steal) is considered suicide; even just coming face to face is risky, as it’s advised to leave asap if possible. This old saying is to caution a person to refrain from doing something that will get them into trouble.
・Ryū no hige wo ari ga nerau (龍の鬚を蟻が狙う, an ant will seek the whiskers of a dragon) MEANING: Those in a weaker position will take the risk to rise to a greater status
This phrase refers to when you want greater power to achieve a goal. It uses the idea of a dragon’s whiskers being special, and that anyone would seek it to gain great fortune, including a tiny ant. As an example, when an inferior person seeks to surpass a superior person.
・Ryū no agito no tama wo toru (龍の頷の珠を取る, steal the jeweled orb from the dragon’s territory) MEANING: Getting involved in something very difficult
This is a phrase used when someone’s embarking on a risky/dangerous task. It’s similar to the first old phrase mentioned above, where one risks their life to obtain a valuable jeweled orb dragons are rumored to possess by trespassing into their lair. You can say it has the same usage as another popular phrase that incorporates the tiger⁴, the sworn rival of the dragon.
・Ryū gin sureba kumo okoru (龍吟ずれば雲起こる, when the dragon bellows, clouds stir up) MEANING: When in need, you will attract the right people
An interesting one, this has a meaning of meeting the right people who will be beneficial to you. In a folklore-type example, it is like when a hero sets out on a journey, they have the tendency to run into like-minded people that will eventually join them. This is applicable to almost any type of scenarios, such as when starting a new business.
・Ryū no mizu wo euru gotoshi (龍の水を得る如し, like a dragon in water) MEANING: Gaining more resources to accomplish greater things
Dragons are said to have a natural connection with water and its many forms in nature. This includes clouds, rivers, rain, and waterfalls. When a dragon is in its element, so to speak, it can demonstrate its power at greater folds. This phrase plays on the idea of gaining something to do even better. It can be anything that can grant an individual more success.
CONCLUSION
We end this article with a look at the start of the year. Here’s hoping that the 2024 forecast comes to fruition. There’s much history behind the lore of dragons, most of which couldn’t make it into this article. At a later date, there are plans to publish a few more articles related to the dragon theme, so look out for them.
1) Some things to point out is that this character is pretty old, and isn’t formally used that much outside of ancient practices like the Zodiac. While in older documentations, the idea of its meaning to shake or wave is evident, but nowadays this character is outdated and is not used in this manner. In modern dictionaries it is not unusual to see “dragon” as one of its meanings, which is based on its (limited) usage in present day.
On another note, “tatsu” is more of a Japanese phonetic. The Chinese phonetic is “shin” (chén in Pinyin), and is another way of reading this character. Since “tatsu” is another phonetic for “dragon” for both the more familiar Chinese characters “竜” and “龍”, this just makes it easier to connect this to the Zodiac character “辰”…at least in Japanese.
2) It must be stated again that this is just a prediction, one made a few months in advance before the New Year. In reality, we hope for a healthy and positive year, but we must also accept that there as already been fatal tragedies all around the world, where in some cases happened on New Years day.
3) There are more traits, but for this article I will focus on the ones that come up the most in relations to the Zodiac sign.
Here is part 2 on the series regarding the folklore “White Rabbit of Inaba Country”, which will cover fun facts, real life comparisons, as well as certain research topics. Although introduced as a folklore to many kids, originally this was held with high esteem as a source of Japan’s origin story, as well as the rights of the Imperial line. Of course, this type of literature was only privy to nobles and influential clans as early as 700s, but was made available to the general public from around the mid 1600s, especially as literature in schools.
Here’s a list of some of the sources used as research material for this article:
Before going forward, it’s worth mentioning again that the story of the white rabbit and his journey to Inaba Country is originally part of a bigger tale regarding Ōkuninushi no kami, and how he becomes the head of the earthly gods, as well as the ruler of the central land in Japan, which is all recited in the Kojiki. While it may seem that the white rabbit plays a minor role, it is in fact the opposite, for he was critical in Ōkuninushi’s rise in status, and can even be argued that he judged Ōkuninushi’s fate. While this, as well as all other stories found in the Kojiki, part of the mythological origin of Japan, it is worth noting that the interpretations aren’t as clear cut as one would assume; reading the clear & easily digestible versions of the folklore (including the one from the previous article) paints an acceptable image of the white rabbit and his journey to Inaba Country, but in reality these are based on adjusted, acceptable interpretations. The original text isn’t as clear with the details, nor the meaning behind some of the dialogue used. These, along with not fully understanding the reasoning behind why the Kojiki was written the way it is, has lead to numerous discussions on the meaning behind much of the text. In the end, researchers have to struggle reading in-between the lines, which in itself can lead to more confusion. Some of these issues will be touched upon lightly in this article.
Another point regarding interpretation challenges leads to the idea about aspects of the folklore being a parallel to real social, and political events that are linked to geographical areas of old. While there may be some truth to this (especially later on in the Kojiki, when the “gods” theme tones down abit and focuses more on actual people), it is still challenged by a lack of concrete, factual evidence. Reasons behind this include certain aspects of the past intentionally hidden due to political issues, which can be remedied through either changing names of certain individuals involved, to replacing with a misdirection in the form of a fantasy-like narrative.
LESSONS FROM THE FOLKLORE
As a folklore geared towards children, what types of lessons are young readers expected to take away from the story “Inaba no Shiro Usagi”? There are 2 lessons that I was able to find.
1) GREAT FORTUNE COMES TO THOSE WHO DO GOOD DEEDS – This one points to Ōkuninushi no kami, and how he was rewarded for his kind nature. Unlike his mean and selfish older siblings, he helped an injured white rabbit heal itself & regain his fur. In turn to his kindness, the white rabbit ensured that it was Ōkuninushi be the one to take Yagami-hime’s hand in marriage.
2) AVOID BRASH ACTIONS, LEST BE GREETED BY DISASTER– This pertains to the white rabbit and how he foiled himself as he crossed along the backs of the sharks to reach Inaba Country. While his wit to have the sharks line up unaware is admirable, getting ahead of himself and making them look stupid by bragging about his trick was his undoing. The white rabbit brought bad luck to himself due to this…which is a poor habit we should avoid.
THE REAL OKI ISLAND AND INABA COUNTRY
The country Inaba, from where the events took place, has been deduced by researchers to be modern-day Shimane, in the eastern part of Tottori Prefecture. Shimane is also part of the area that was once called “Inaba Country” or “Inaba Province”, during ancient times. The land of Inaba is painted as an important location where a goddess named “Yagami-hime” resides. This may not be a coincidence, as there is a bit of a parallel with real life. You see, while most of the events in the Kojiki are considered mythological, this possibly was done intentionally as it covers possibly social structures. In the past, Inaba Country was one of the highest ranking lands in terms of powerful clans, coming second to the capital where the Imperial Palace was located. Inaba Country was also close to the capital at a time, so the clans there served the Imperial family directly. In terms of its geography, Inaba Country sits next to the Sea of Japan, which is important to note for the next part.
A map that details the locations of both Inaba Country and Oki Islands in the past. From Wikipedia.
Looking at Oki Island, where the white rabbit was first introduced, there are a few areas that are thought to be this location. Based on distance, as well as the idea that this is a “lone” island, researchers point to an archipelago in the Sea of Japan called Oki Islands, meaning that it wasn’t a single island. Despite it’s distance in the ocean, it is part of the territory of Shimane Prefecture that is called “Oki District” in modern times. While being one of the many smaller islands off the coast of Japan, Oki Islands was considered its own country, as there are records of inhabitants even during ancient times. This also made these islands suitable for political exile. Speaking of which, The full story of Ōkuninishi has a relatively profound political tone, especially later in his life. Some of it is thought to be parallel to real events between aristocrats, warlords, and the Imperial Palace. Is it possible that the white rabbit, being the only one of his kind on Oki Island, was a representation of a reputable individual who was exiled? Or one who escaped from a bad situation? That is a personal theory of mine, one out of speculation.
WHAT’S IN A TITLE
At 1st glance, the modern title “White Rabbit of Inaba Country” seems to be more straight-forward and staying true to the story. Yet, something is off, as this points to the rabbit being from Inaba Country. Isn’t he originally from Oki island? To be honest, the modern title isn’t as straight forward as one would think when reading the Japanese title, yet it’s one of those minor points that’s not easily obvious. Now, if we compare this with how the older title was written, we then discover it is filled with hidden meanings behind the story. Of course, to understand this would be to analyze and dissect the characters used in the Japanese title.
Here’s variations of the modern title. Note that they are both essentially the same, other than that the word for “white rabbit” (shiro usagi) is either written in modern kanji (Chinese characters) or simpler Japanese phonetic characters called hiragana:
因幡の白兎
因幡のしろうさぎ
Now, here’s what the older title looks like.
稲羽之素兎
Inaba (因幡) is the name of the country where the events took place. In the older title, we see “稲羽” used for the name Inaba instead. Other than small nuances such as character presentation, representation of phonetics, and the like based on the time period, both mean the same thing. However, the real point of interest lies in the theory that the name is thought to have a hidden reading, which is “往ば” or “去ば”. Both are verbs with the conjugation “inaba” pronunciation, and have the meaning “to return” or “go back”. If either is used in the story’s title, it’ll properly read “White Rabbit who’s Returning Home”. This theory isn’t too far-fetched, as in many older Japanese literature there tends to be word play through the use of Chinese characters. Also, the white rabbit’s desire to travel to Inaba Country must mean that he knows something about this area….possibly because he’s been there before?
There is one other point, which is concerning the older title “shiro usagi” and how it does not use a character that actually means white. Instead, there was a theory that it actually references him returning back to normal after facing his ordeals. This will be saved for a more in-depth discussion later in the article.
YAGAMI-HIME = GODDESS
Yagami-hime is whom Ōkuninushi no kami and his 80 sibling gods head to see. Is this also true for the white rabbit? There’s some interesting tidbits regarding her, as well as what she represents.
Yagami is the name of an area in Inaba in the past. Thought to have gotten its name from the actual story, the area of Yagami was fairly large, consisting of 12 towns. Today, it is known as “Yazu District” (八頭郡) in Tottori Prefecture. Having such a historical record as such, it’s possible that Yagami was a place of significance, for it’s even thought that the white rabbit, as well as Ōkuninushi no kami and his siblings, were heading to this very area. In parallel to the regalia of Yagami-hime in the story, the area of Yagami may have been controlled by a noble family. Whether or not this family had a daughter of such significance as demonstrated through Yagami-hime in the story is a mystery. Another thing worth mentioning is that her name can can also be pronounced as “Yakami-hime”.
In terms of her position, since the premise of the folklore centers around gods, Yagami-hime is indeed a goddess. So, it would make sense that other gods would seek her out to take her hand in marriage. What about the white rabbit? What would be his purpose in meeting with her? In the version of the story used in the previous article, it’s written that the white rabbit traveled to Inaba to meet a goddess. Is Yagami-hime whom the white rabbit wanted to meet? This isn’t specified. In fact, this appears to be an addition to this version. Going off of the original story found in the Kojiki, readers only learn of his intentions after Ōkuninushi asks what’s ailing him, which the reply includes his statement about wanting to visit Inaba. In truth, the white rabbit doesn’t mention about a goddess, let alone Yagami-hime. In the end, most likely he only went to see Yagami-hime as a means to help Ōkuninushi no Kami, and foil the 80 sibling gods’ plans.
A snapshot of statues portraying Okuninushi no kami, Yagami-hime, and the white rabbit. The location of this is the Menuma Jinja (賣沼神社), which is in Kawabara Town, Tottori Prefecture. There is a sign to the left stating that this is a place where visitors can pray for love. From Tottori City Tourism.
One more fact to mention is how Yagami-hime and Ōkuninushi no kami’s relationship is considered one Japan’s oldest love story. While this isn’t the only example of a relationship taking place in the Kojiki (nor is it the first one), it is, in a way, appreciated on a romantic level. In true fashion, their relationship did blossom into something special, where they did get married and have a child. Unfortunately, their tale did not have a happy ending, as Ōkuninushi would be forced to leave after an attempt was made to take his life, and would never return back to Yagami-hime.
SHARK VS CROCODILE
In terms of topics pertaining to the story that have no clear resolution, one I’d like to point out in detail concerns the first obstacle for the white rabbit, which are the sharks. Surprisingly, it wasn’t always sharks that were presented in the story, for there was a time when instead the sea creatures that cost the white rabbit’s fur were described as crocodiles. The reasoning behind this has to do with the naming convention used during ancient times, and the confusion that comes with it due to inconsistencies in geographical inhabitancy, as well as changes in the Japanese language in modern times.
First, let’s look at the name used in the story. The creatures deceived by the white rabbit are called “wani” in Japanese, which are represented by the Chinese characters “和爾”. Verbally, wani means “crocodile” or “alligator”. So one would assume that crocodiles were the correct sea creatures that were the obstacle in the story. There are a couple of issues with this, the biggest deals with when the story (and as a whole, the Kojiki) was written. It dates back around the 700s, which around this time, crocodiles were not a creature naturally inhabiting Japan. Furthermore, the event with the white rabbit took place out in the sea, where crocodiles would not be at for they are reptiles and not sea creatures. Although they are active in water, crocodiles are generally found closer to land. Sharks, on the other hand, are a type of sea creature that are fish and can be found out in the ocean, which better fits the narrative.
The covers of 2 different books, each depicting the scene where the white rabbit crosses the sea. The left one featuring sharks, while the one on the right has crocodiles.
So why use the term wani for a sea creature? There are some theories behind this. One is that the Japanese had knowledge of crocodiles from their interactions with other Asian countries, such as China and, for the sake of fantasy, added them into the story. This isn’t too far-fetch, especially when you consider how many artworks incorporate tigers, which are also not natural to Japan. In fact, this is a pretty strong one, as there are other cases of the word wani appearing in other Japanese folklore, which was used for dragon-like or snake-like reptilian creatures. On the other hand, one thought is that the word wani was used as a label for multiple creatures in ancient times, and not just for reptilian ones such as crocodiles; there is evidence that the name may have been attached to other sea creatures as far back as when the Kojiki was written, which includes fugu (河豚, puffer fish) and same (鮫, shark) . This isn’t too unusual; in fact, this practice is still used today in certain parts of Japan, as apparently the word wani is associated to sharks. This is similar to the difference in pig/boar labeling in Japan when compared to China.
At the end of the day, there is no concrete answer to whether it’s a crocodile or a shark that appears in the story. In current times, the shark theory is more accepted, and is in the majority of versions and art depictions of the story. In fact, to distinguish from crocodiles, the common practice is to use the unique title of “wani-zame” (鰐鮫) for these sharks.
MIRACLE CATTAIL
The cattail, called “gama no hana” (蒲の花) in Japanese, plays a symbolic role for bringing back the white rabbit’s fur. Or, it can be though that it replaces the lost fur completely. For those who are unfamiliar (like myself), a cattail reed has spiky seeds all over it. When ready, these same seed bloom into fluffy cotton. In reality, the cattail is a multi-purpose plant that has been relied on for generations, as it can be used for making utilitarian supplies such as hats & baskets, it can be used for culinary purposes, as well as for medicinal purposes. Quite amazing is how the cotton from the seeds can be used as stuffing and insulation, which is probably where the idea of rubbing a cattail along the white rabbit’s body had the seeds stick to him in order to bloom into a new white coat of fur came from.
Outside of this playfully creative remedy in a folklore, cattail does have actual medicinal usages in Japan in the past, as it is said there are some archaic remedies found in old documentations. One usage was for resolving certain pain-related issues, possibly through boiling or burning down certain parts into some form of concoction. Another medical usage was for bleeding issues, where the cotton from the seeds were probably used to cover up cuts. Speaking of which, there is the idea that the cattail was actually used for the purpose of relieving the white rabbit’s pain and not for regaining his white fur. Could it be that the cotton from the cattail was actually used to cover up and heal his lacerated skin? While this aligns with actual medical purposes, this idea is not incorporated in most (if any) interpretations of the folklore.
We’ll stop here, as this quip about cattails is a small piece of a much bigger conversation that will be covered more in depth in the following paragraphs below.
ORIGINS OF THE WHITE RABBIT
Pinpointing where the white rabbit comes from is one with no clear answer. Exploring the origin would be a fruitless endeavor, as there are no concrete methods to uncover this. On the other hand, we can look into some fun facts regarding the character used to identify him, as well as the idea of him crossing the sea.
For linguistic buffs, it’s interesting to know that the white rabbit was identified by a different Chinese character. Normally, “兎” is the character that represents rabbits, but in the Kojiki there is a unique variation for this word, which is “菟”. The difference between both characters is the top part of the character, which means “grass”. This is an old character not used in modern Japanese, but is though to be the original character used to identify rabbits. One can say that the old character describes rabbits better, as they do live out in fields and eat vegetation to survive.
The idea of a rabbit crossing the ocean on the backs of sharks is quite unique, but not necessarily the sole example of such story telling. There are other such tales in older Asian lore where animals, such as foxes and small deer, have to cross the sea using various modes of transportation. It’s possible that the author of Kojiki was inspired by other Asian lore from other countries, and incorporated this theme. But why? On another note, what does this tell us about the white rabbit? Was he native to Oki Island, or did he somehow get stranded over there? Does that mean that he’s originally from Inaba? Also, what was the reason to traveling to Oki Island? Could his travel have been a reflection of political conflict? Is the white rabbit a parallel of an important individual sent to Oki Island? Questions like these probably won’t be answered anytime soon. Interestingly, there was a work of literary art produced generations later that expands on the origins of the white rabbit with a unique spin, adding reasoning behind his journey. Since it is out of scope with this article, it won’t be discussed here, but I intend to go in depth about it in another article.
BEHIND THE “WHITE” FUR
In the modern adaption of the story, the protagonist is called “shiro usagi”, which is white rabbit in English, and this name is represented by the characters “白兎”. However, note that this differs from the original text, which includes the point that the color of his fur was never mentioned before he lost his fur. In the Kojiki, he is not called “white rabbit”. Instead, simply the term “rabbit” is used to address him, along with other terms based on the changes of his situation, such as naked rabbit (裸の兎) from when he lost his fur, and rabbit god (兎神) after he elevates to the status of a deity. The name of the book “Inaba no Shiro Usagi” is taken directly from the following line in the Kojiki upon regaining his fur after following Ōkuninushi’s remedy:
JAPANESE: 此稻羽之素菟者也 TRANS: He’s become the “white” rabbit of Inaba
Here we have rabbits that have brownish-to-beige-hue fur (left) during the warm seasons, while a white fur rabbit (right) sits in the snow during winter. Could there be any significance to the white rabbit having white fur in the folklore outside of wintertime?From Photo AC.
Although here the word “shiro” is used, which normally stands for white in Japanese through the character “白”, in the Kojiki a different character is used. This particular character for shiro is “素”, which has a meaning that leans toward “clean”, “unstained”, or “original”. An Edo period scholar Motoori Norinaga (1730 ~ 1801) reasoned that the reading of this character can be white through the same meaning. His reasoning has often been compared to how non-dyed clothing or fabric is often white, and is represented by the characters “素布”. Interestingly, the pronunciation shiro is uncommon for the character “素”, but could be a case where it’s used to represent the idea of “white”, thus allowing readers to understand that the rabbit does indeed have white fur.
On another train of thought, some of the descriptions geared towards the white rabbit is more “human-like”, as opposed to how other animals in the Kojiki are described. For example, when the white rabbit loses its fur, it is called the “naked rabbit”. The characters used for naked feels more of what you’d say to a person, as it has the nuance of meaning “being clothe-less and having a reddish hue”, similar to that of a new born baby. Some thoughts about the white fur likens it to clothing, such as him putting on a white robe. This could be because the white rabbit turned into a deity that is revered today, thus encouraging the words that describe him to be more respectful.
REAL PURPOSE OF ŌKUNINUSHI’S REMEDY
The most problematic conversation regarding the meaning behind “white” is regarding Ōkuninushi’s remedy, and what it truly was intended for in the original text. If we examine the white rabbit’s condition in the story, he was more than just fur-less, but was wind-burnt and lacerated from the 80 sibling gods’ prank. Seeing the injured body, Ōkuninushi’s remedy of using clean water and the cotton from cattail seeds may have only been to treat the cuts sustained and heal the body, for his intentions were to return the rabbit back to his “normal” state. Following this concept, the use of the word shiro (素) may have actually been speaking towards this, and not actually getting a white (白) fur back, if he even had one from the start.
While the application of medical treatment in the form of a remedy makes perfect sense, it does detract from a story that deals with individuals that are beyond normal. In fact, it takes away from the surreal nature that the narrative hints towards, not just in the “Inaba no Shiro Usagi” story, but from the Kojiki as a whole. It’s possible that the consensus found this “normal” medical idea distasteful; there are plenty of criticisms in the unclear and segmented narrative used in the Kojiki and its whole “gods” theme, which spurred many concepts such as this one in hopes to being the “missing” piece to solve the puzzle. In truth, reading the older, non-restructured version of “Inaba no Shiro Usagi” (as well as Kojiki as a whole) can be a chore trying to interpret, as the descriptions are not very fleshed out, which can lead to a lot of misunderstandings. Thus, with this idea ruled out, future interpretations steered toward the notion that the character “素” refers to “white”, and incorporated the vivid imagery of a rabbit with white fur losing it, then regaining it through Ōkuninushi’s remedy.
WORSHIPING THE RABBIT DEITY
There’s no argument that “Inaba no Shiro Usagi” has had an influence on Japanese society. With the likeable image of the white rabbit, it is not surprising to see rabbits play a star role in future stories, traditions, and pop culture. One of the more substantial result of this can be seen in the number of shrines and temples built in honor of rabbits, or that have a rabbit motif somewhere in their structure.
The most well-known shrine that is directly correlated with the iconic folklore is “Hakuto Jinja” (白兎神社), or “White Rabbit Shrine” in English. This is located in Tottori City, Tottori Prefecture, the origin land of the folklore itself. This shrine was built generations later, Here, people revere the same white rabbit as “Hakuto-kami” (白兎神), and pray to receive aid for various situations, such as the following:
Images of Hakuto Jinja, which includes the main shrine hall (left), the torii gate (middle), and statues depicting the white rabbit and Ōkuninushi no kami (right). From Photo AC.
Curing skin disease
Healing from injuries
Recover from various illnesses
Animal Healthcare
Fate
Marriage
All these are related to the folklore one way or the other, especially the last one. In “Inaba no Shiro Usagi”, the deity white rabbit displayed the unique ability to affect the fate of specific individuals, or people of special existence. As such, we see how remarkable he was as the go-between in sealing the fate between Yagami-hime and Ōkuninushi. Thus, why lovers would come to the Hakuto Jinja and pray for a successful marriage.
CONCLUSION
Here comes the end to this article. This became a much longer one than anticipated due to finding a lot of interesting information. This is also a testament on the importance of “Inaba no Shiro Usagi” in Japanese culture as a whole. There are other interesting concepts based on this folklore, which are currently planned as separate articles to be shared on this blog later this year.
Happy New Years everyone! 2023 is now upon us, giving us the opportunity to start off fresh and put new ideas to the test. But first, I will stick with my normal pattern and open the year with an article covering this year’s zodiac sign, which is the rabbit! To be more specific, it’s water rabbit. Let’s go over the specifics of this year’s sign, traits that those born under the rabbit zodiac possess, and well known rabbit-inspired Japanese phrases that advise us on real life topics.
USAGI, THE RABBIT SIGN
The word for rabbit in Japanese is “usagi” (兎), and represents the 4th Zodiac sign of the 40th 12 Animal Zodiac cycle (十二支, Jūnishi). However, as mentioned in other posts with like topic, this was done for phonetic purposes, as well as to make digesting the complexity of the Zodiac cycle easier for the masses. Before this, the rabbit (as well as the other animals) had no connection to it. Even the Chinese character for this Zodiac sign is different from the standard one used for this animal. Below are the details.
Chinese character: 卯
Pronunciation: u / usagi¹
Meaning: To force through, to challenge
Thus, this Zodiac year is pronounced either “udoshi” or “usagidoshi” using the Chinese characters “卯年”². Also, the meaning mentioned above is in relations to the stages a plant seed goes through. Imagine a sprout pushing through the outer coating of the seed, as it struggles to grow into a big plant. This is the real meaning behind this Zodiac sign.
TRAITS OF THE RABBIT
How does both the original meaning of the plant and the image of the rabbit relate to human characteristics? This Zodiac sign represents the period where we grow through proper nutrition, by taking chances, and achieving success by not giving up. This is critical for little kids, as they learn many things that can vastly help with development, such as studying math to learning how to ride a bike. Adults can also be inspired by this as well. Also, if we add the imagery of a rabbit, where we can grow physically & succeed at our goals in leaps and bounds, as long as as we don’t shy away from trying.
Rabbit takes center stage in 2023
Other traits thought to be possessed by people born under this sign are inspired by the rabbit imagery, which includes being gentle yet warm, quiet yet graceful, and delicate yet fine. By nature, people of these traits are thought to uphold a prosperous environment. There is a phrase in Japanese used to describe this, which is “kanai anzen” (家内安全), which means “peace & prosperity in one’s household”. By nature, positive lifestyles of these individuals include caring & get along with others, while not being overtly hostile or aggressive even in competitive situations. However, possible negative lifestyles that should be avoided are being self-centered and inconsiderate to others’ needs, self-preservation that causes flight & the abandonment of others when danger arises, and being overtly sensitive to the point where one is offended at the slightest sign of disrespect. Of course, all these are prospective views on these traits, and not necessary accurate for everyone born under the rabbit Zodiac sign.
ZODIAC + HEAVENLY STEMS
Here are some other facts regarding the rabbit Zodiac sign and its practical use in Japan’s society in the past.
Number: 4th sign
Direction: East
Time: Around 6 am / within the 2 hour period 5 am ~ 7 am
Month: 2nd (based on the old calendar)
Ying/Yang: ying (dark)
Element: wood
There is also the 10 Heavenly Stems (十干, Jikkan), which work in conjunction with the Zodiac cycle. For this year, the sign “mizu no to” accompanies the rabbit Zodiac sign. Here’s some important details about this.
Number: 10th sign
Chinese character: 癸
Reading: mizu no to / ki
Element: water (dark)
Image: small water / light rain / mist
Meaning: to moisten the warm earth / ending and beginning
Since both the Zodiac and Heavenly Stems go hand-in-hand, the full reading of this year’s sign is “mizu no to-udoshi” (癸卯年), or “year of the water rabbit”.
COOL RABBIT PHRASES
There are some interesting old (and new) Japanese phrases that use the rabbit to teach lessons or give advice. There are many out there, but for this article we will go over a few. Along with the Japanese phrases and their meaning in English, I have also included the direct translation of each phrase as a bonus for those interested in how they read in their native language.
・Nito wo oumono wo itto wo mo ezu (二兎を追うものは一兎をも得ず, you won’t be able to catch a single rabbit if you chase two at the same time) MEANING: Trying to accomplish 2 goals at the same time is fruitless, as you won’t succeed in either one.
・Datto no gotoku (脱兎の如く, like a fleeing rabbit) MEANING: Run swiftly to the point where you can’t be caught.
・Usagi shi sureba kitsune no wo kanashimu (兎死すれば狐之を悲しむ, the fox will be sad when the rabbit dies） MEANING: People of the same kind, whether it be class, field of work, and so on, generally suffer the same misfortunes. If one person fails, then the next person will lament as they too are bound to suffer the same fate.
・Enmoku toji (鳶目兎耳, black kite eyes, rabbit ears） MEANING: A black kite is known for having long-range vision, while a rabbit has very sharp hearing. A person complimented as having both traits is said to be skilled at information gathering, like a spy.
・Usagi no wana ni kitsune ga kakaru (兎の罠に狐がかかる, the fox gets caught in the rabbit’s trap) MEANING: Just when things look bad, a turn of events grant a person great luck.
・Usagi no hirune (兎の昼寝, a rabbit’s nap) MEANING: This relates to the famous story where the rabbit lost a race to a turtle because it took a long nap, underestimating its shelled adversary. There are two ways to interpret this, the 1st being to keep one’s guard up and not underestimate the opposition, while the 2nd being a person who naps too much.
CONCLUSION
This is a quick, yet compact overview of this year’s Zodiac sign. There are points that we can take and use to be successful this year. Stay tuned, for there will be a couple more articles coming out that will cover the rabbit theme.
1) This kanji is not pronounced as “usagi” originally. However, to match with the times and the rabbit image, it is now ok to use this pronunciation.
2) Nowadays, it is not uncommon to write “usagi” in usagidoshi in kana, for ease of reading. Kana is another written form used in Japan, which consists of 2 styles, the first being hiragana (平仮名), and the second being katakana (片仮名). Either writing below is fine:
In a previous set of articles, brave acts with the Japanese spear were covered, as well as a few famous ones that still exist today¹. These examples illustrate the importance this weapon had in Japanese history. The same can be said about the Japanese sword, with a great amount of stories especially coming forth during the Edo period; these are often painted as an essential tool part of the arsenal of warriors during the Sengoku period, as well as being the symbol of the samurai class during the Edo period. Many of the tales concerning swords even touch on levels one would deem supernatural.
For this article, we’ll look at 3 unique stories that tell about amazing feats done with the Japanese sword. Each story has an interesting point to illustrate, which ranges from the greatness of the wielder to the sword itself being nothing short of mystical. As amazing the feat is, keep in mind that they shouldn’t be taken literally.
STORY #1: YAGYŪ AND THE DIVIDED STONE
There is a legendary story that comes from the Ama-no-Iwatate Shrine (天石立神社, Ama-no-Iwatate Jinja) in Nara prefecture, which is home to a very large stone on its property. Measuring at about 26 feet long, 22 feet wide, and 6 feet & 1/2 high, this stone is fabled as the very one used by the Sun Goddess Amaterasu to seal herself in a cave. Today, it is a critical center piece behind the founding of Ama-no-Iwatate Shrine. However, the story we will be reviewing isn’t about the shrine’s origin, but concerns one of the more renown swordsmen during Edo period, whose name is Yagyū Muneyoshi (柳生宗厳).
A section for the Shinkage ryū scroll known as “mokuroku”. Here, instructions on kenjutsu is given with the use of an illustration consisting of a tengu. From Wikipedia.
A seasoned warrior on the battlefield during Japan’s warring years, Muneyoshi is the founder of Shinkage ryū (柳生新陰流) during the Edo period, a popular martial system that specialized in combat with the Japanese sword, which many still practice today. Well, it just so happens that the large stone of Ama-no-Iwatate Shrine also plays a significant role in how Muneyoshi founded his style.
There was a time Muneyoshi went on a training journey to further improve his sword skills. For this, he went to Ama-no-Iwatate Shrine and stayed there for awhile. One day, when he was training on the grounds of the shrine, a tengu (天狗, a long-nosed goblin with wings) suddenly appeared, as if challenging the warrior. Muneyoshi fought fiercely with the tengu, as they both went back and forth with blows. Channeling his intention, Muneyoshi swiftly delivered a downward finishing cut that the Tengu couldn’t stop, cleaving him in half. In the next moment, Muneyoshi’s opponent disappeared, and was replaced by the large stone that was originally sitting not too far from him while he was training. He was so intent on victory, that his blade was able to cut through stone.
Pic of Ittōseki. From Photo-AC.com
The large stone would later be called “Ittōseki” (一刀石, stone divided by a single sword swing) once an account of Muneyoshi’s feat was learned. It’s perfectly split from top to bottom at an angle, which would take an enormous amount of brute strength to achieve. The point to take from this tale is that near impossible feats can be achieved through sheer intention, where one is harmoniously in tune entirely on 3 levels: physical, mental, and spiritual.
STORY #2: A BLESSED SWORD AND A WINE BARREL
This next story concerns the Mijima Shrine in Izu, located in Ooshima (eastern part of present-day Tokyo). Ittō Ittōsai (伊東一刀斎), the pioneer of the martial system known as “Ittō ryū” (一刀流), was residing there in his youth during a time when he wanted to learn kenjutsu. After a period of self-training through determination, the shrine’s head priest was moved, and decided to pass on a sword named Ichimonji (一文字) to the youth. This would be the 1st sword that Ittōsai would receive so he could begin to learn kenjutsu properly. Ichimonji was not only fabled to have a fine edge, it helped its young owner develop a skill that is quite a feat.
An example of a sword kept in a simple shirasaya, which is meant for storage especially during the cold season.
Before he became a renown swordsman, Ittōsai was described as a youth who had much potential in kenjutsu. The head priest acknowledged this as he convinced the youth to head on a journey to find a competent swordsmaster, which he agreed to fund. On the day he received Ichimonji, the sword was blessed with ceremonial rice wine, and passed on to him without proper fittings². Late in the night, right before his trip, Ittōsai heard commotions in the shrine, and learned that it was being looted by a gang of thieves. Unsheathing the sword which only had a wooden handle, he charged at the thieves. Despite them being armed and outnumbering him, the thieves fell to his sword one-by-one, as he displayed great handling. The last thief retreated to a room where wooded barrels used to store blessed rice wine are kept, and hid in an empty one hoping to escape later unseen. Ittōsai gave chase and, upon entering the room, was able to perceive where the thief was hiding. In one swift motion, he rushed at the barrel and cleaved through the barrel, which not only collapsed in two, the thief inside also fell along with it, severed from his torso down.
An example of a sake daru (酒樽), a barrel used for storing rice wine at a shrine. From Photo-AC.com.
This remarkable feat of cleaving both the wine barrel and the thief would years later serve as a secret technique taught to his highest student, which would be called “dō-giri” (胴斬り)³.
STORY #3: THE DEMON-SLAYING SWORD
This tale involves Hōjō Tokimasa, a figure hailing from the illustrious Hōjō clan. Originally a military commander serving in the army of Minamoto no Yoritomo, Tokimasa became the 1st authority figure of the established military-ruled Bakumatsu during the early Kamakura period.
An ukiyoe of Hōjō Tokimasa. From Wikipedia.
After the establishment of Kamakura Bakufu, Tokimasa went through a period of being plagued by tormenting nightmares, which all involved the appearance of a demon. One night, he went to sleep in his chambers as normal, with his sword next to him. He proceeded to go through another round of nightmares, which made him agitated. As he turned on his bed, his right arm bumped into his sword, which then fell ontop of him. Suddenly, as if willed by a power not of his own, Tokimasa subconsciously drew this sword and swung it, instinctively cutting at the demon within his dreams. His sword instead cut off one of the legs from a table which a hibachi (火鉢, small heating pot) sits on. The exasperated Tokimasa woke up surprised at the scene around him. As he examined the damage done to the table, he noticed that the part of the table leg that was accidentally cut off had the carving of a demon on it. Suspecting that this was the cause of his nightmares, Tokimasa had this part discarded, and from then on, was able to have peaceful nights of pleasant sleep.
An image of the face of an oni, or demon. From AC-illust.com.
This sword of Tokimasa was actually named “Onimaru-kunitsuna” (鬼丸国綱). Known as one of 5 legendary swords in Japanese history, it is distinguished as being a “reitō” (霊刀), or “spirit sword”. This means the unique trait the the Onimaru-kunitsuna bear was the ability to cut things on a spiritual level. Since the small table was cursed by the carving of a demon, this sword was able to “will” its owner to severe the menace at its roots.
ENDING
This concludes our coverage on stories concerning feats with Japanese swords. These tales were definitely penned to stir the imagination, illustrating famous figures and renown swords in a light of glory. While taking these types of stories as fact is abit difficult, one thing for certain is they are entertaining.
2) A sword prepared for use would have what is called koshirae (拵), which includes a proper sword handle covered with shark skin and cotton wrap, a sword guard, and adorned with metal pieces. Since the Ichimonji was place at the shrine for safe keeping, it was prepped in shirasaya (白鞘), which consisted of a simple wooden sword handle, and housed in a non-lacquered sheath.
3) There is an article that talks on the general use of this term, which can be read here.
We continue with part 2 on our discussion about the fabled tale “Kōga Saburō Densetsu”. In part 1, we looked into the origin of the story and its possible connection to a real life figure, as well as a version of the story from the collection of the Kōga region-native Mochizuki family. This article will continue in the same vein, where we’ll review another version about Kōga Saburō and how he overcomes the trials of surviving in foreign lands, and managing to make it back home years later. The following version is introduced in the book “Kōga Ninja-kō”, which was mentioned in part 1. This is said to come from the source “Asahi Nihon Rekishijinbutsu Jiten” (朝日日本歴史人物事典).
Page with this article’s version of “Kōga Saburō Densetsu”. From the book “Kōga Ninja-kō”.
This tale begins with an individual by the name of Suwa Saburō Yorikata (諏訪三郎諏方). Saburō is the territorial lord of Kōga, Ōmi province. He has a wife, who is known as Kasuga-hime. He also keeps in contact with his 2 older brothers, the oldest named Tarō, while the 2nd oldest is Jirō¹.
One day, Kasuaga-hime was captured and taken away by a tengu (天狗), which is a goblin with a long nose, body of a man, and wings on its back. Saburō, accompanied by his 2 brothers, went into pursuit in order to save her. During the chase, his brothers advised that they take a path that leads through Mount Tateshina (蓼科山, Tateshina yama), a familiar location not far from them. On the surface, it sounded like an easy path to traverse through in order to continue tracking the tengu. However, what Saburō didn’t realize is that this was just an excuse for the 2 older brothers to put a plan in motion they had for a long time; Tarō and Jirō had secretly been jealous of their younger brother’s good fortune, and had conspired to bring his downfall when the opportunity arrived.
As the 3 were walking by a moderately-sized pit, the 2 older brothers suddenly shoved down towards it. Saburō fell a distance down through the pit, and landed in an unfamiliar underground world. With no way up to the pit hole, he had no other choice but to travel through the area to learn his surroundings. Saburō crossed through different lands that were populated by villages. He entered various villages, and witnessed that the inhabitants lived their lives farming on their lands. Blending in where ever he could, he also engaged in farming for as long as needed, before moving on.
Eventually, Saburō’s wanderings through the underground world would bring him to a land called “Yuima” (維摩). In this land, he came upon a village where the locals specialized in deer hunting, and engaged in this on a daily basis as it was their way of life. He was able to make good relations with them, so much to the point that he was able to begin a relationship with the village chief’s daughter, Yuima-hime. Saburō was able to find happiness and piece of mind in Yuima, as he settled in the village doing hunting as much as he likes, and being with the lovely Yuima-hime, he spent many years there.
After some time, Saburō began to reminisce about his actual wife, Kasuga-hime. His feelings for her was getting stronger, to the point that he desired greatly to see her again. Setting his mind to find a way to get back to his homeland, Saburō executed a plan to run away from the village on a particular day, and set once again to search for a path that would get him back above ground. Giving up his life of comfort and heading back into the wild, he had to overcome many hardships. It took time, but Saburō was finally able to return back to the lands above through an opening on Mount Asama (浅間山, Asama yama). Descending down the mountain, he began his final journey back home.
Making his way back to his home country Kōga in Ōmi Province, Saburō saw a Buddhist temple along his path, and decided to stop by and offer prayers at its Shakyamuni Hall². Before entering the temple grounds, he felt something off about him. Feeling himself, he noticed scales all over his body, and realized his appearance has changed into that of a snake. Not wanting to alarm the locals, Saburō hid himself from plain sight. Wondering how to resolve this predicament, he remembered a remedy he had heard about, which involved bathing oneself in a lake where a particular plant called sekishō (石菖)³ grow. Keeping a low profile, he wandered around abit, looking for this plant. Eventually, Saburō came to a lake and, as expected, there was a good amount of sekishō sprouting from it. He stepped into the lake to test this remedy and, after washing his body, sure enough he felt his scaly skin soften up. In no time, he reverted back to his normal self as the his snake-like appearance was no more.
With no more obstacles, Saburō finally returned home. There, he reunited with his wife, Kasuga-hime, and was able to live the rest of his life happily.
BREAKING DOWN THE STORY
After reading both stories, it’s easy to see where both versions are similar, as well as where they differ.
We see Saburō as the protagonist who shares a relationship with Kasuga-hime. He is betrayed by an older sibling and knocked into a hole to sends him into an underground realm. There, he adapts, and is able to start a new life with another person named Yuima-hime. However, longing to go home and be with his first love, Saburō runs away, manages to escape this underground realm, and return back to his homeland. While he had an unfortunate transformation into a snake, he was able to change back, and successfully make his way back home and be reunited with Kasuga-hime. Of course, both stories have their differences in how this tale unfolds, which includes what event with Kasuga-hime that triggers the betrayal, which of his brothers actually commits the betrayal, to how Saburō was able to change back from a snake into a human. Despite these variations, the overall theme is still shared between both versions.
Below are specific points regarding the meaning embedded within the story, which will help understand the development of the protagonist, and how both Shinto practice, as societal structure of that time have an overall connection.
#1: PROTAGONIST AS A DEITY FOR WORSHIP
To understand how Kōga Saburō (and, albeit a minor role in these versions of the story, Kasuga-hime) is viewed is to first look at the source of his invention, which is the Suwa Grand Shrine in Nagano. At this shrine, there are 2 types of gods worshiped there, with the first being Takeminakata-no-kami (建御名方神), and the second being Yasakatome-no-kami (八坂刀売神). Constructed by Suwa Lake, the Suwa Grand Shrine is divided into two locations, with one being the “upper” shrine where Takeminakata-no-kami is worshiped, and the other being the “lower” shrine where Yasakatome-no-kami is worshiped.
A pic of Takeminakata-no-kami, as he performs a trick called “senbiki no ishi” (千引の石, lifting a stone that requires the strength of 1000 men) when he challenges Takamikazuchi.
Both deities come from the ancient texts Kojiki (古事記) and Sendai Kyūji Hongi (先代旧事本紀). From these texts and more recognized sources, Takeminakata-no-kami is presented as one of the sons of Ōkuninushi (大国主), the main god who heads all other local gods within ancient Japan and had ruling power what could be called the earthly realm. When the sun goddess Amaterasu (天照大神) sent 2 messengers from the heavenly realm down to claim control over the land from Ōkuninushi, Takeminakata-no-kami challenged one of the messengers in a contest of strength. One of the messengers, whose name was Takamikazuchi (建御雷神), agreed to the challenge, and had an interesting exchange with Takeminakata-no-kami, which would eventually lead to the young god’s defeat. Takeminakata-no-kami retreated to Suwa Lake, and as the two messengers were going to kill him, he begged them to spare his life, as he confided that the land be given to Amaterasu, and that he would stay forever at this lake.
Take note that in the records from Suwa Grand Shrine, this story has a slight variation to it, mainly where the fight and the scene of Takeminakata-no-kami’s retreat are omitted. As a whole, Takeminakata-no-kami’s bravery is honored dearly. Takeminakata-no-kami is worshiped as the god of wind, water, agriculture, warfare, and hunting, where hunting represents the lifestyle of certain families at that time.
Kōga Saburō is thought to not only be related to the story of Takeminakata-no-kami, but is said to have been the reincarnation of him. Thus, the young god is believed to have been reborn as one of the sons of the Suwa family, and was brave enough to take up the lifestyle of a warrior, become a renown warrior under the Ashikaga Shogunate, and rose to be lord of Kōga in Ōmi Province.
#2: THREE SACRED TREASURES
In the Mochizuki version, it is mentioned that Saburō was protected by 3 sacred items. This is a parallel of the 3 sacred treasures of Japan which are introduced in the Kojiki, the ancient text that presents the mythical story of Japan’s origin. The idea of a protagonist to have such items meant that he himself was special, and was protected by divine powers, as if destined to not lose. This idea most likely comes from the root story regarding Takeminakata-no-kami.
#3: SNAKE / DRAGON REFERENCE
The Suwa Grand Shrine’s god of worship is called “Suwa Myōjin” (諏訪明神). From the shrine’s documents, it is said the Suwa Myōjin would come down from the heavens to the lands below, riding on the back of a giant snake. It is also interpreted that Suwa Myōjin also took the appearance of a snake himself. In other writings, the creature is instead referred to as a dragon.
Pics of dragon statues from the Suwa Grand Shrine upper shrine. In the right is a depcition of Sua Myōjin riding on the back of a giant dragon.
In Shintō belief, gods often used “shinshi” (神使), or divine creatures for both delivering messages or as a mode of transportation. These divine creatures look like earthly variants, such as the ox, chicken, crane, and carp fish. The snake is one of these divine creatures, so there are shrines that pay respect to these faithful messengers.
In another version of the Kōga Saburō Densetsu, the role of the snake / dragon plays a center role in the story, this time between Saburō and Kasuga-hime.
#4: SUDDEN CHANGE INTO A SNAKE
With the importance of the serpent and dragon to the Suwa Grand Shrine established, it’s easier to now look into the scene when Saburō changes into a snake. Here’s one way to interpret this scene. This is a direct reference to Saburō being Takaminakata-no-kami, and the transformation was a natural phenomenon. This came about because he fell into the underground tunnels that actually leads to a supernatural plain, where the lands there are populated by mystical creatures and people. When he left this supernatural plain and emerged back into his own homeland, he did so by transforming into a snake, much like that of Suwa Myōjin. Even though it may not have been through his own doing, this serves as a hint that deities are able to enter the human realm through the body of a divine creature.
#5: CONTRAST BETWEEN THE HOMELAND VS UNDERGROUND LANDS
Kōga Saburō’s homeland and his journey into the underground lands may be a reflection of the differences in classes in Japan, and how Suwa Myōjin is revered by both. In the story, we have both Saburō’s family who are warriors that engage in hunting, and in the underground lands there are those who are farmers. Saburō engaged in both willingly, which is a display of acceptance of both activities. In this respect, both military families and farmers saw it appropriate to pray to Suwa Myōjin for blessing.
From a different angle, the 2 worlds could also represent different cultures & beliefs. If we look at the name “Yuima, it’s a Buddhism term, and relates to certain sutras. The origin is India, where Yuima is the Japanese pronunciation of the name “Vimalakirti”. This name comes from an Indian folklore about an older man named Vimalakriti who was a layman, and had an uncanny understanding of Buddhism despite not being a monk. A bit to unpack, but India has been viewed as an integral place in the development of Buddhism in Asia, plus there has been many shared concepts between Shintō and Buddhism in Japan over the generations. There may be something to this in reference to Saburō’s journey in the underground world.
#6: LESSONS FOR THE KŌGA SHINOBI
This point is an interesting one, which is explained a bit in the book “Kōga Ninja-kō”. The focal point that ties the Legend of Kōga Saburō to the shinobi of Kōga is hunting. It is understood that there was a culture that involved heavily with working in the wild within certain areas like Kōga, and the pioneers of this were woodcutters and hunters. Through these types of occupations, one would gain experience traveling through wooded areas, understand the characteristics of wild animals which would include being able to copy their calls, disguising one’s appearance and smell by wearing animal hide, and so on. Such real life skills are believed to have been some of the building blocks to the shinobi no jutsu (or, as called in modern times, ninjutsu) techniques that the warriors of Kōga used generations later. The thought that hunting being a building block for Kōga warriors’ style of ninjutsu, as introduced in the book mentioned above, is an interesting concept, albeit one that is not stated as fact.
CONCLUSION
The legendary story of Kōga Saburō is an example of how fabled tales play a significant role in people’s lives in the past due to familiarity of content. How such tales are recorded and transmitted also plays a factor, with there being slightly variations in the story to fit a favorable agenda. This concludes our coverage on 2 versions of Kōga Saburō Densetsu. As I mentioned before, there still more variations to this story, which, if time permits, I hope to take a look at one that gives an even more different perspective on how the story unfolds.
1) In this version, the older brothers are not addressed by name. From other versions, as well as resources, it is understood that these are their names. Using it here is to introduce them as significant figures.
2) A section of a temple or shrine where the Buddha Shakyamuni is worshiped.
3) In English, this is called “Japanese sweet flag”. Its botanical name is “scorus gramineus”.
In today’s article, I will discuss about a famous story called “Kōga Saburō Densetsu” (甲賀三郎伝説), or “Legend of Kōga Saburō”. Gaining public recognition from the 1600s onward during Edo period, there were many theatrical renditions done by kabuki actors, as well as musicals called “jōruri” (浄瑠璃), which incorporated a musician and puppets. Exposure to this story comes from the collection of esoteric-related writings by shrines, as well as from word of mouth by shugendō followers. While popular as a folklore, the Kōga Saburō Densetsu was especially significant to certain families from Kōga region (also called Kōka) of Shiga prefecture, as it represents the root of their unique martial tradition.
Cover of the picture book “Kōga Saburō: Shinshu-Yomikikase Minwa Ehon Series”. One of the many visual interpretations of the fabled tale “Kōga Saburō Densetsu”.
In today’s article, we will look into the specifics of the Kōga Saburō Densetsu, which includes its origin story. We’ll also look at one version of this story, which comes from one particular family reigning from Kōga region.
TALE FROM THE SUWA FAMILY
Kōga Saburō is a heroic figure that is deified and worshiped at the Suwa Shrine located in Nagano prefecture, as well as viewed as a type of warrior god at various shrines. Considered a very old shrine in Japanese history, Suwa shrine itself was built by the Suwa family, whom also assumed the role as priests. The legend of Kōga Saburō dates back some time around the 1400s, with the main character said to be modeled after one of the Suwa family’s sons who took up the occupation of a warrior, went to serve the Ashikaga shogunate by becoming a retainer of the Hōjō clan, and earned many merits due to his accomplishments in battle. For his service, he was also made territorial lord over Kōga. if this is the case, then it makes sense that this individual would be immortalized at their family shrine.
Image of the main hall of the Suwa shrine. From Wikipedia.
There is another version to this story, which is found within the documents of the Mochizuki family. One of the major allied families in Kōga during Sengoku period, The Mochizuki family have recorded in their family genealogy that they are descendants of a Mochizuki Saburō. Not only was this individual from the Suwa family, but is in fact claimed to be the same individual as Kōga Saburō, for he not only was the territorial lord of Koga, but at one time was a lord over the neighboring Iga region as well.
With the inception of this fabled tale, Kōga Saburō was immortalized as a hero of the Kōga region, as well as throughout Ōmi province (present-day Kōga, Shiga Prefecture). Other than the bigger-than-life trials the character had to go through, he is also revered as having establishing the way of life in that region. Another unique point is that for the Mochizuki family and their allies, the tale of Kōga Saburō is interpreted as teaching the roots of where the unconventional tactics and survival methods the warriors of Kōga specialized in, which today is often dubbed as ninjutsu.
MOCHIZUKI’S VERSION
For this article, we will first look at the Mochizuki family’s version of Kōga Saburō Densetsu. This version is taken from the book “Kōga Ninja-kō”, which is authored by Ukai Takehiro.
Cover of the book “Kōga Ninja-kō”
This story starts off at the beginning, when the protagonist was known by the title “Suwa Saburō Yorikata (諏訪三郎諏方), and was the 3rd son of the territorial lord of Kōga in Ōmi Province. Although youngest, his father made an unexpected move and appointed Saburō as the next successor of their family line due to his talents and likeable personality. On top of this, he had an arranged marriage with Kasuga-hime set up, who was the granddaughter of Kasuga Shrine’s chief priest. Along with his future wife’s unmatched beauty, the union between the two families would ensure that Saburō’s family continue to maintain their prestigious status. His older brothers, on the other hand, were not pleased with the special treatment their younger brother was receiving at all.
One day, Saburō went deer hunting in the woods with Jirō, the 2nd oldest brother. While his younger brother was distracted, Jirō suddenly pushed him down into a pit, where he would tumble into an underground cave. With no way to reach the opening of the pit from where he fell into, Saburō was forced to wander through the tunnels of this underground cave. Trapped with no way out, he was sure to perish, but he maintained his wits and was resourceful with whatever was at hand as he traveled into unknown lands. For example, when there was no food to be found around him, Saburō ate pieces of his sōshi (雙紙)¹. During the night when there was no light peering above him, he used his sword Nikkō no tsurugi (日光剣) to illuminate his surroundings. Lastly, to keep safe from evil spirits and beings lurking about, he placed his keepsake mirror Omokage (面影) close by his side. These 3 items were actually blessed with divine powers, and protected the lone warrior during his journey².
Saburō’s wandering would come to an end when he finally stepped foot onto a kingdom called “Yuima” (維摩) . Although a foreigner, he was welcomed by the King of Yuima, and was also offered his daughter’s hand in marriage. Saburō agreed to this, and lived with them in Yuima for about 13 and a half years. While life was good, after some time he started to long for his fiance Kasuga-hime, and wished to be with her. So, bidding his family in Yuima Kingdom farewell, Saburō embarked once again through the underground in order to make his way back above ground.
Saburō finally discovered an exit from the underground realm, and was able to walk on his native land again. Hungry from his long trek, he decided to engage in his long-time past time and went deer hunting³. However, he soon discovered a terrible matter; for during his time in Yuima, he unknowingly went through a transformation and his appearance had become that of a snake. Not wanting to alarm everyone at his home, Saburō sought a method that would change him back to look like his normal self again. Luck was on his side, as he encountered a mysterious old monk who, seeing the young warrior in his plight, conjured a remedy. Miraculously, the remedy worked, as Saburō reverted back to his original form. What he didn’t know was that the old monk was actually a powerful deity in disguise, and had came to aid him in his return home. Just as he mysteriously appeared, the old monk went his way, without leaving a trace.
Successful in making it back home, Saburō presented himself to his family and explained what had happened to him since his disappearance. He also sought out his older brother Jirō, and drove him out of their home, forcing him to roam the land and never to return. Lastly, Saburō could be reunited with Kasuga-hima, he took his rightful place as the head of the Suwa family, and became territorial lord over Kōga. With everything taking course as intended, Saburō would assume the title “Kōga Saburō Kaneie” (甲賀三郎兼家), and could live the rest of his life happily.
ENDING
This bring the 1st article about the Kōga Saburō Densetsu to a close. Reading fabled tales like the one above most certainly will bring up questions, especially about the hidden meanings behind certain parts of the protagonists overall journey. Fear not, for many of these will by answered in part 2, where we will go over another version of this story, and do an analysis of the symbolism that shapes this popular tale.
1) Normally this is written with the characters “草紙”. While its usage varied depending on the era, a sōshi is a type of bound notebook.
2) These 3 sacred items parallel the 3 sacred treasures of Japan, which are the following: Kusanagi no Tsurugi (草薙劍, The Grass-Cutting Sword), Yata no Kagami (八咫鏡,the 8-Span Mirror), and Yasakani no Magatama (八尺瓊勾玉, Long [approx. 8 ft] string of Curved Jewels).
3) Although not mentioned in this version, one of the differences found in the underground lands is that agriculture was the main source of food. Due to this, Saburō learned a great deal about farming during his time underground. On the opposite end of the spectrum, deer hunting was an important source of food when Saburō was living above ground. A comparison can be drawn from this when looking at class during Japan of old. This will be evaluated more in the 2nd article.
Over the years I’ve written several articles on a new year-related celebration called Kagami Biraki, which takes place on the 11th of January. Possibly the most iconic component of this is the kagami mochi (鏡餅), which is a rice cake made of a type of sticky rice that can be eaten. It is designed as 2-tier (either in one mold, or two separate pieces), and is often decorated in a beautiful manner. There is also a segment where a mallet is used to divide it by “breaking” the top surface, which means opening it to release the blessings kept inside by the toshigami (歳神), a deity that comes to visit one’s residence at the start of the new year to bring good fortune. Although this is a widely-known tradition, having kagami mochi isn’t practiced widely throughout Japan today due to modernization, although some families, or certain organizations for specific events, still keep this tradition going on.
Kagami mochi
As with most things in Japanese culture, there are plenty of symbolic meanings behind the kagami mochi and its appearance. For this article, the back story behind kagami mochi will be covered. We’ll look into the traditional practices regarding its shape, the superstitions behind the types of decorations used, as well as its relations to the mallet instead of a sharp instrument.
MEANING BEHIND SHAPE
The accepted practice for kagami mochi is to make it circular. This is obvious when this rice cake is looked at from above. There is one prime reason behind the circular shape, one that pays homage to ancient beliefs and practices.
Example of an ancient bronze mirror.
Centuries ago, mirrors were made in a circle shape out of bronze. Going as far back as the Yayoi period (before 300 BC ~ 300 AD), these were valuable objects where only those of prestigious status could obtain one. From that time forward a strong belief regarding how mirrors can grant eternal life, or deliver good fortune to one’s descendants was attached to mirrors, giving it an auspicious nature. Also, shintō belief added to this with the idea that mirrors were like a gateway to different gods that were worshiped, such as the sun goddess Amenoho Akari no Miko (天火明命)¹.
Today, much of that ancient practice has been carried to present day, and influences the practice of Kagami Biraki. This gives us a clue as to the ancient bronze mirror being the reason for kagami mochi being circular, as well as a means to receive blessing from the toshigami for a long life.
WHY 2-TIER?
One of the more interesting features of the Kagami mochi is that it’s made as a 2-tier rice cake. While it may seem unusual, especially for something that should be more recognizable as, say a mirror. However, this 2-tier structure is symbolic, with reasoning behind it. Below are a few acceptable theories regarding this:
Why 2-tier?
Having the kagami mochi as 2-tier is believed to reinforce the blessing one receives, to ensure good fortune, and longevity for one’s life.
Having a 2-tier design is a representation of the phrase fūfu wagō (夫婦和合). This phrase stands for happy union between marriage couples, and can be viewed as following the philosophy of inyō (陰陽, ying yang). The layers of the kagami mochi represent this union, and is important for those who are married.
Under Shintō and Buddhism practices, the layers represent the connection between humans and the gods. Due to the influence of these two belief systems, Japan had a long history of being polytheistic, with many people revering gods for all purposes and matters in their lives.
Each of these theories are feasible and can honestly be identified as so based on the Japanese culture. It would be wrong to just pick only one, for there are many ways of life styles in Japan’s past, and it’s not common for different groups to celebrate the same theme, but with a different reasoning behind it.
DECORATIONS
The items used to adorn a kagami mochi is not random. Over several centuries a formalized practice was devised in how to visually present it. Below is an explanation of the items used as decoration, based on the image provided. Note that there are slight variations in the arrangement of the decoration, as well as items used, so this design is not written in stone as the only way to go.
Popular decorations
Shide (垂) – A new year decoration consisting of 2 strands of square-shaped papers hung on either side of the kagami mochi. This is a type of gohei (御幣)² used in Shintō practices. Generally white can be used, or can be mixed with red color. This is symbolic as warding away evil spirits that can bring bad luck and misfortune.
Sanpō (三方) – A small stool to sit the kagami mochi on. Based on Shintō and Buddhist practices, this is a necessity. In the past, those of prestigious status could afford to obtain this. Present day, sanpō is an easily obtainable item at many outlets that can be purchased.
Daidai (橙) – Originally a fruit called daidai (橙, bitter orange) would be placed on top of the kagami mochi. Nowadays, a small mikan (蜜柑, mandarin orange) is used in its place, although the title “daidai” still remains. The meaning behind using this fruit is “seimei saisei” (生命再生), which is “restore one’s life”³. Another thought on this is how daidai do not fall off of the tree they grow on even after ripening. This signifies having a strong family line.
Urajiro – A type of leaf that comes from the fern species, called shida (歯朶) in Japanese. Two of these are used. This is not the only type of leaves that can be used for decoration of the kagami mochi, but this is the most common.
Shihōbeni – This is a square white sheet of paper with red trimming placed underneath the kagami mochi. The meaning behind this is protection from misfortune, sickness, and disaster from all four cardinal directions.
Since all these are part of Japan’s culture, acquiring these items is relatively simple. This is especially true when new years is around the corner, for many stores and retail outlets will have these in stock and put out advertisements.
TABOO OF SPLITTING WITH SHARPINSTRUMENTS
For those who’ve seen images or an actual Kagami Biraki event would notice that a mallet is used to split open the kagami mochi. This is the same for a taruzake (樽酒), which is a barrel full of blessed sake used in the same fashion as kagami mochi at certain gatherings and events, especially at shrines. Although I’ve spoken about this in another article, I’ll reiterate it here as well since it’s related.
Bladed instruments are not allowed!
Early in the practice of Kagami Biraki, there are recordings about it once being known by the title “Kagami Wari” (鏡割り), which can be interpreted as “splitting the mirror”. This is because a bladed instrument was used to open up the kagami mochi. As a practice devised by prestigious military families, this makes sense as a to-go action. However, over time this was frowned upon due to its rather violent connotation; for a practice that was auspicious, “cutting” something that is said to be inhabited by a deity felt like a direct attack. It also didn’t help that the practice of seppuku (切腹, suicidal cutting of one’s belly) was a form of ritual punishment that forfeited a person’s life.
A mallet is just fine!
A movement was made to change the interaction with the kagami mochi that appeared both humane and non-violent, which is where the mallet was introduced. For this, one taps the top layer in order to “open” it, which means to separate it into two. This is a more acceptable depiction to release to blessing one would receive from the kagami mochi. On another note, it is OK to simply use both hands to separate the kagami mochi.
ENDING
This covers the significance of the kagami mochi during the new year, and the symbolism behind its presentation. As mentioned earlier, Kagami Biraki is not widely practiced nowadays throughout Japan, except by those families or groups that have reason to keep this tradition going. One thing for sure is there is still many images and public coverage on kagami mochi, much like this article, so it won’t easily be forgotten.
1) Hailing from Japan’s legendary tales. Known under many different titles, too numerous to mention. However, all point to the same goddess who shut herself in a cave after being the target of mean tricks by her brother, which brought darkness to the world. The other gods set into motion a plan to get her to come out, including having a mirror be the 1st thing she sees, to convince her that she was the most beautiful goddess of all.
This episode can be read in old texts such as the Kojiki (古事記) and Nihon Shoki (日本書紀).
2) Gohei is a stick consisting of streams of paper that is carried at the front of a procession or during a ceremony.
3) Daidai’s importance is based off of the tale concerning the deity Tajima Mori no Mikoto (田道間守命), and how he traveled to China to retrieve this bitter orange from China in order to make a medicine that would save the 11th emperor’s life.
It’s 2022! Let’s kick off in our usual fashion with an article on what the current Lunar Zodiac year is and what sign represents it. As many are aware, 2022 is the year of the tiger. Many have been sending out new year wishes accompanied with colorful images of tigers to help spread the word and support the Chinese Zodiac cycle. If we follow the actual chronological order of this ancient calendar, the correct date for this zodiac year is February 1st. Still, doesn’t mean we can’t get into the proper mindset and start 2022 right.
For this article, we’ll cover the specifics of the tiger sign, and what to expect the auspicious predictions for this year to be. Along with this, we’ll look at the societal and cultural influences the image of the tiger, as a whole, has had within the history of Japan.
UNDERSTANDING TORADOSHI
Under the Zodiac calendar, 2022’s zodiac animal is the tiger. So, we can call this the year of the tiger, or toradoshi (寅年) in Japanese. In many people’s minds, the imagery of a tiger symbolizes power, courage, as well as strong-willed. Of course, these characteristics were added much later once animals were incorporated as relatable representatives of humanistic qualities for each of the 12 zodiac signs.
A painting of a tiger reclining. Artwork of Ohara Kosen.
Let’s break down technical traits of this year’s zodiac sign. The tiger sign is identified by the character “寅”, which is pronounced as “tora”. Normally, the kanji for the actual animal is “虎”, which also uses the same pronunciation. Although possessing the same animal name, the “寅” character’s root meaning points to “sprouting of seeds”. This is significant as it’s the precursor to the seasonal transition from Winter to Spring.
Along with the 12 Zodiacs, there is the “10 Heavenly Stems” (十干/Jikkan in Japanese), which traditionally associates with each year’s reading. The character that represents this category is “壬”, with the pronunciation being “mizunoe”, and means “light-water”. This is because the 10 Heavenly Stems is a product of Inyō Gogyōsetsu (陰陽五行説), which is the combination of philosophical beliefs pertaining to ying-yang (light and dark) and the 5 Movements/Elements (earth, water, fire, wood, metal).
There are essentially 5 different tiger years within the 60-year Zodiac cycle, with each one representing a different element. For this year, we get both tiger and mizunoe together as “壬寅”, which is pronounced either as “jin-in” or “mizunoe tora”. Thus, the complete way of reading 2022 would be as “year of the water-tiger”.
EVERYDAY USAGE
The Zodiac signs have continued to have an impactful influence in Japan’s society of old. Becoming a staple within the culture, people were educated to rely on these signs for telling time, determining direction, and so on. Below are the different roles of the tiger sign in everyday application, along with its traits for this year.
Time = 3 am – 5 am
Direction = East-Northeast (abit past 30 degrees)
Month = 1st (old calendar); 2nd (modern calendar)
Energy = Light / positive (yang)
5 Elements = water
Although archaic for today’s standards, it is still possible to utilize the tiger sign, as well as the other zodiac signs, for calculating time, directions, and so forth. There is a systematic process, which is covered in one of my translation projects entitled, “Many Ways of Utilizing the Zodiac Signs“. This can be found in the Translations section of this site, in the menu above.
2022 PREDICTIONS
As mentioned earlier, the character used to represent the tiger sign possesses the meaning of a seed sprouting. This imagery represents growth & vitality, as well as new beginnings. In essence, 2022 is read as a year for everyone to not only become revitalized, but to start a new endeavor. Realistically, this tends to be a general goal for every year, especially in the West. What the tiger sign emphasizes is an increased success rate on an auspicious level, especially for life-changing, ground-breaking pursuits.
Those born particularly in the water-tiger year are said to have particular traits that makes it easier for them to succeed. This includes having a strong intention to succeed, passionate and able to take on any challenges, and an eagerness to learn. While designated as the personality of those born under this sign, keep in mind this can benefit all individuals universally, as those of different signs can mimic this in order to reap the rewards this year can offer.
Interestingly, as much as an advantage those born under this tiger sign has, there are also significant disadvantages they have to especially be cautious about regarding overdoing things. Then there are those other fortune factors to be concerned about, such as wearable color clothing, lucky numbers, favorable directions, and so on…at least, for those individuals who actually follow this type of auspicious practice.
CULTURAL IMAGE
Outside of the Chinese Zodiac calendar, the image of the tiger has cemented itself into Japan’s culture, despite being a country that originally was not a habitat for such animals. Gaining knowledge about this large, wild cat from sources such as artworks, literature, and folklore from China & Korea centuries ago, Japanese society has incorporated the concept of them representing strength, bravery, as well as something having high value. Thus, it’s not unusual for the tiger image to be used as a form of expression for one’s worth, or to distinguish objects with this animal association to instill an everlasting impression.
Artwork entitled, “Satō Masakiyo toragari no zu” (Satō Masakiyo on a Tiger Hunt). Artist is Utagawa Kuniteru. One of many artwork pieces that follow a popular theme regarding warriors defeating a tiger, usually as a feat to display their prowess.
Let’s look into the historical use of the word tora (tiger) as a label. Since as far back as medieval Japan, it wasn’t unusual for individuals to include this word in their name or given title, especially for warriors or those in the entertainment field.
Takeda Shingen (武田信玄) = the renown warlord of Kai province was nicknamed “Tiger of Kai” (甲斐の虎, Kai no Tora), for he was a cunning & formidable competitor in the race to dominate Japan during the 1500s.
Akiyama Torashige (秋山虎繁) = a strong warrior & trusted retainer of the Takeda clan that controlled Kai province.
Hara Toramasa (原虎胤) = another warrior of the Takeda clan that was an ashigaru taishō (足軽大将, infantry commander).
Ii Naotora (井伊直虎) = a female territorial lord during the mid 1500s, as noted in the chronicles of the Ii family.
Utagawa Yoshitora (歌川義虎) = an accomplished ukiyo-e artist during the late Edo period to early Meiji period.
Nakamura Toranosuke (中村 虎之介) = a young kabuki performer/actor who hails down a family line that specialized in kabuki theater.
In a sense, the inclusion of tora (tiger) in each of these individual’s names or as a label can be taken as an indication of their capacity for success.
Next, is how value is placed on tangible things. For example, within the different areas of artistic practices and performances of old such as bujutsu (武術, martial arts) and chadō (茶道, way of the tea ceremony), documents that contain secret & high-level knowledge exclusive to those worthy were often called “tora no maki” (虎の巻), which literally can be translated as “tiger scroll”. This is still done today, as this label is placed on workbooks & study guides that contain important tips and strategies to help students pass exams, or excel in various fields of interest, such as medical or tech. There is also the term “tora no ko” (虎の子), which usually indicates things of extreme value, such as money. With the term meaning “tiger’s cub”, one can get the idea of how protective a mother tiger is when it comes down to ensuring safety for her own cubs. This is the type of feeling that must be projected for things that are of the status to be labeled “tora no ko”.
Painting entitled, “Fūryū Jūnishi Tora (Appreciation of the 12 Zodiac Animals: Tiger). Artist is Isoda Koryusai. While no official description could be found, this artwork displays an adult tiger with a tiger cub on its back, possibly rescuing it from the strong water turrent.
There are also some interesting old sayings that use the tiger image in an expressive fashion. Below are some examples, from dangerous situations to challenging the road to success:
Kogō (虎口) = the tiger’s den MEANING = a dangerous place to either avoid or escape from.
Koketsu ni irazunba koji wo ezu (虎穴に入らずんば虎子を得ず) = you can’t steal the cub if you don’t enter the tiger’s den MEANING = have to take risks if you want to succeed big.
Tora no o wo fumu (虎の尾を踏む) = stepping on the tiger’s tail MEANING = beware of stirring trouble, or getting caught in a bad predicament.
Tora ni tsubasa (虎に翼) = a tiger with wings MEANING = giving someone who is already powerful a level up boost.
Neko wa tora no kokoro wo shirazu(猫は虎の心を知らず) = Although similar, a cat doesn’t possess the mind of a tiger MEANING = an average Joe cannot understand the mind of a successful person.
CONCLUSION
While our world has faced an amount of setbacks caused by the pandemic, we are gearing to move forward with our lives in hopes to overcome. Let’s hope that this year everyone can make strides towards this, and be successful in our goals, whether it be in helping our communities, starting a new business, or just getting back on our feet. Don’t forget to use the image of the tiger to be inspired to do big!
Today’s Halloween here in the States, so it is time to put out an article that goes with the occasion. There are rituals and processions that one would associate with occult practices, black magic, and spells. Some are so out there that they would fit perfectly as a thriller or horror film. In this article, we’ll cover one practice that is pretty out there, and could make for a cool costume!
Since Edo period, there was an unusual practice in Japan which may have roots to the divination system Onmyōdō (陰陽道) called “Ushi no Koku Mairi” (丑の刻参り)¹. This can mean “Late Night Ritual Procession at a Shrine²“. While the title sounds harmless, what takes place is not. Records on it state that this was a practice where when some women were slighted by a cheating man, whether be boyfriend or husband, they would embark on this personal journey of revenge at the back of a local shrine to place a curse on him. The origins of this is believed to have come from old texts dating back as far as Heian period (794 ~ 1192), such as the military text titled Heike Monogatari (平家物語) and a book of songs called Kokin Wakashū (古今和歌集). These have short inserts of a woman who becomes slighted by a lover who failed to keep his promise, and transforms into an oni (鬼, demon) through the will of an enshrined deity after praying to it at a shrine that houses it. With this new found strength, she swears vengeance and terrorizes the area. Fast forward to Edo period (1603～1868), cases of women going to shrines and performing a ritual in the dead of the night appear to have been a thing.
A ukiyoe depicting Ushi no Koku Mairi. The woman presented has a demonic look, as if transformed by the ritual herself. By Utagawa Kuniyoshi.
The purpose of Ushi no Koku Mairi was to put a curse on a cheating man that would bring him death. This was a means for a woman to successfully break any eternal ties with him, plus for him to face retribution. This process did take place behind a shrine, where there were plenty of trees. In advance, a tree would have to be chosen to where this ritual of vengeance would take place. The following steps would need to be prepared to make this all work:
white robe-like outfit with a white belt
metal band around or on top of the head
3 candles fixed at 3 points on the metal band
small mirror hanging from the neck
a small kushi (櫛, a semi-round comb)
high wooden geta (下駄, clog-like footwear)
long white sash with one end fastened to the body or belt
Of course, the most important items that are very critical for this ritual are a small straw doll, decent sized nails, and a metal mallet.
Instruments necessary for acts of revenge.
When it’s pitch-dark outside and the designated time frame is near, the woman must change into her outfit and, with no one around to see her, must run through the wooded area behind the shrine all the way to her designated tree. From there, she will insert the nail through the straw doll, and hammer it to the tree with her mallet, screaming obscenities throughout the process. Once the woman is done, she takes all her items and returns home. This process must be done for 7 days straight in order for her desire for vengeance to come true. It is expected that the targeted man will die within those 7 days. If not, then the process was a failure.
When you really think about it, the outfit may sound and look bizarre. However, there is a purpose behind this, which is to give the woman a rather demonic look. She is to appear as if she too has turned into an ogre as she carries out her mission, much like how it’s depicted in ancient tales. Here’s some more detailed info regarding the preparations for Ushi no Koku Mairi:
There are no special words or chants. The individual can use any words, labels, and otherwise, curses that best describe her target.
The long white sash encourages the woman to run as fast as she can and keep it up in the air as she makes her way to the tree used for the process. The reasoning for this is that the white sash must not touch the ground and get soiled before she reaches the tree, or else the process will not be completed. Take note that this is a difficult feat to accomplish due to the next note….
The type of wooden geta the woman must wear is the one with long ha (歯), or pegs. How long should the pegs be it is not stated, but one thing to keep in mind is that high geta makes it very difficult to walk, let along run.
Feet have to be bare while wearing the geta.
The comb must be carried in the mouth while running.
The woman must have her hair down and not tied. She may wash it ahead of time.
It is recommended to have “keepsakes” of the target that the woman wants to curse inside the straw doll, such as his hair or fingernails.
As mentioned earlier, this ritual was documented. In fact, there was even theatrical performances in the form of Noh (能) plays about this in Japan during Edo period. Now, as for the particular shrines that may have been used in Japan, one that stands out is the Kifune Jinja (貴船神社, Kifune Shrine) in Kyōto, due to the fact that was used as a source of power for a vengeful woman in the Heike Monogatari. Take note that this shrine is not designated for that purpose, nor is the deity that is worshiped there.
A painting of a woman perfoming Ushi no Koku Mairi on a tree near a shrine. Part of the series called “Hyakunin Isshu Ubaga Etoki (百人一首姥がゑとき) by Hokusai Katsushika.
As with many things that are based on supernatural occurrences, there is no real evidence that Ushi no Koku Mairi actually works, nor are there cases that anyone has died due to its ritual. Another interesting point is that while wishing ill fortune is not illegal in Japan, the practice of Ushi no Koku Mairi is in fact a crime. This also includes entering the grounds that belong to a shrine, which is deemed as trespassing, while hammering a nail into a tree is called defacing of private property.
CONCLUSION
Being Halloween, dark tales such as Ushi no Koku Mairi can be interesting and add an element of fun for the occassion. It is certainly one that has inspired manga, anime, and other aspects of pop culture. It does have a dark history with a theme that can be considered black magic. This ends our look at the practice of Ushi no Koku Mairi. Please remember, while the attire described in this article could make for a nifty outfit, the actual ritualistic practice is not really something to try…especially running in high wooden geta late night.
1) Also can be called “Ushi no Toki Mairi” (丑の時参り).
2) The word “Ushi” is related to the Ox zodiac sign, which is the same as this zodiac year. Ushi no Koku is “Time of the Ox”, which is the time frame 1 am ~ 3 am.
