Izanagi and Izanami: Japan's Cursed Creators

The Beginning of the End

The land and the sky, the forests and the sea; the very earth we inhabit may exist only thanks to a tragic tale of divine lovers. Thus, as my final post, allow me to raise the curtain on Japan’s Izanagi and Izanami, the parent deities of the island nation.

Primordial Soup

A tapestry illustration of two gods standing on clouds, with the right one using a spear to stir the sea below.

Credit: Kobayashi Eitaku

According to the Kojiki, before there was, there was not; in the heavens above an infinite void of formlessness, various elder kami (Japan’s gods) existed in the limitless space. After seven generations, the male kami Izanagi and female kami Izanami were tasked with creating something from the ocean of chaos that surrounded them.

Gifted a jeweled spear from the elders to assist in this task, they used it to stir the sea of chaos below. The drop that fell from the spear once lifted became the first island of Japan, Onogoro. Upon that island, they built a palace they would call home, and from there, they decided to start a family. Through a marital ritual that they first fumbled twice, the two successfully created the islands of Japan and its kami.

The Embers of Tragedy

However, all was not peachy and proper for the parents of this land; whilst Izanami safely gave birth to Japan’s islands and numerous kami of nature, when she birthed the flame kami Kagutsuchi, she was fatally burnt. Izanagi tried to save her, but it was all for naught.

Many more kami were created in her death, but Izanagi didn’t care; outraged by such a tragedy befalling his wife, he took out his rage on Kagutsuchi, cutting him down. Though unnecessary blood was spilt that day, countless more kami spawned from Izanagi’s tears and his bloodied blade.

The Journey to the Worst

Izanagi mourned the loss of his love long after her passing, until, ironically, the flame in his heart was spurred; he quested to Yomi, the land of the dead and darkness, to save Izanami. Through a great many trials and tribulations, Izanagi finally arrived at the palace of the dead.

He snuck in through the back, and deep within the palace’s corridors, he finally found her. Izanami awaited him with open arms, and whilst a loving reunion was had, bad news was quick to follow; she had eaten the food of Yomi, and as such, was no longer capable of leaving.

Izanagi didn’t care, however, and pleaded that she return with him. Whilst she couldn’t comply in that moment, she had an idea: she would appeal to the kami of Yomi, asking to return to the land of the living with him. However, Izanagi would have to remain outside, and not enter the palace no matter what. He agreed, took his leave, and waited eagerly for Izanami’s return… He waited… And waited… And waited.

Soon, an entire day had passed without word from within the palace. Izanagi, worried and impatient, forsook his promise to his wife and barged back into the palace.

That would be his ultimate mistake.

An illustration of a massive boulder blocking a gate in the side of a mountain.

Credit: Caelan Stokkermans Arts on facebook

Making a torch out of his comb’s tooth, he treaded carefully through the pitch black halls of the palace. Indeed, he found Izanami, but she was no longer the same kami that created the world with him; her body lay collapsed, her flesh rotting, swarmed with magots, and various kami of thunder had formed from her limbs. Izanagi was horrified, speechless, and beyond grief stricken.

In the face of such overwhelming horrors, he ran. In his attempt to escape, the warriors of the palace, the thunder kami from his wife’s body, and Izanagi’s decaying corpse itself pursued close behind. Pushing past his fear and limits, he escaped the palace of the dead by a hair, before fleeing Yomi and sealing it behind him with a massive boulder.

Izanami would remain there, eventually gaining the moniker “Goddess of the Dead”, whilst Izanagi would purify himself in the sea. As he did, even more kami came into existence, chief among them being the sun goddess Amaterasu, the moon god Tsukuyomi, and the sea god Susano’o…

An illustration of a robotic-looking spirit wielding a spear.

Izanagi’s looking a little different here… credit: atlus, sega.

Thriving in the Modern Era.

This tale of creation and destruction became the legend at the center of Japan’s greater mythos, being adapted, recreated, and referenced in media all throughout the world:

  • The videogame Smite, a multiplayer game featuring gods from various mythologies, included Izanami as a core character.

  • The protagonist of the game Persona 4 calls on a powerful spirit to aid him in his quest into the Shadow World, with that spirit being aptly named Izanagi.

  • In the hit manga and anime series Naruto, the names of Izanagi, Izanami, Amaterasu, Tsukuyomi, and Susano’o are given to godly techniques and powers used throughout the story.

The End of the End

From the creation of the world to the end of this blog and beyond, the world that the married two kami created, as well as the story they left behind, will live on to be re-experienced and retold long into the future. Thank you for reading.


Sebastian Switzer, best known for his short story Ronin, lives in southern Ontario with his family. Sebastian began writing in 2018, specializing in suspenseful, high-fantasy fiction, and dabbling in as much mystery as he can manage; a sucker for action, his style’s never found standing still. He’s currently aiming his attention towards this very blog, where he covers myths and folklore from Japan’s storied history. Sebastian is often accompanied by his two cats, who frequently find themselves seated stoically between himself and his work.

Be My Yuki Onna: A Deep Dive into Japan's Elusive Snow Woman

Overview

The leaves tumble and the winds chill, the winter storms are nigh as November casts a chilling shadow on the fading fall. However, be wary; a final stroll through the twilight days of autumn may lead to an icy encounter with the Yuki Onna, the mystical Snow Woman of northern Japan! With skin as pale as ice, a translucent white robe, and hair like a pitch black- wait, white? White hair? But… Huh, this one ain’t so cut and dry…

 
An old art piece depicting the Yuki Onna standing in a snowy landscape

Credit: Sawaki Suushi

A Primer

The Yuki Onna is a Japanese Yokai, or spirit, whose written origins date back to 1333 – 1573. Since then, tales involving the Yuki Onna have sprung up all over the place, generally in the northern, colder regions of Japan. In essence, she’s a snow spirit, though what she actually does, as well as her exact appearance, are mysteries with no concrete answers; for every story about her, there’s a wildly different depiction in tow. However, the most well-known story about her, and the one you’re likely familiar with if you’ve heard of the Yuki Onna before, comes from a writer named Lafcadio Hearn in 1905.

 

Hearn’s Version

An illustration depicting the Yuki Onna taking the life of the master woodcutter in Lafcadio Hearn's tale.

credt: KWAIDAN: Stories and Studies of Strange Things, by lafcadio hearn

In Hearn’s telling, two woodcutters, a master and apprentice, end up trapped in a blizzard that forces them to take shelter in a ferryman’s cabin for the night. However, the apprentice awakes in the night to find an icy white woman leaning over his master, whilst a chilled breath flows from her mouth; the master is already dead. The woman plans to do the same to the apprentice, but stops when she notices his beautiful youth. She tells him that she’ll let him live for now, but will return to take his life should he tell a soul about that night.

The apprentice survives the rest of the storm, and the next year, he encounters a woman who’s passing through his town. After some conversation and a visit to the apprentice’s house, the woman decides to stay there, and eventually, the two are wed. They live happily and raise numerous children, but one night, a chance bit of lighting from the window behind his wife reminds the apprentice of when he saw the Yuki Onna. So, he tells her about it… Much to her dismay.

Once the words had left his lips, the wife’s expression turned from cheer to anguish. She revealed that she is the Yuki Onna from all those years back, and were it not for the children they raised together, she’d kill him just as she did his master. Instead, she vanishes into the air, never to return, and leaving the apprentice heartbroken, regretting his every word…

 

Folktales

Now, whilst that may be the most popular depiction of the Yuki Onna, it is far from the only one. Stories dating as far back as the 1300s paint her in a bevy of different lights; the monk Sogi wrote that, on his travels through the Echigo province, he encountered a ten-foot tall, snow-white woman standing outside his house during a blizzard. When he tried to talk to her, she simply vanished, and he later learned from some locals that what he saw was the Yuki Onna.

In Yamagata prefecture she’s known as the moon goddess, who became bored and fell to earth, but can no longer return home. Meanwhile in Aomori, Miyagi, and Nigata prefectures, she’s known as something of a “snow vampire” who feeds on the life force of travellers; the moral spectrum of the Yuki Onna is a broad one indeed…

 
Art of the character Froslass from the videogame series Pokémon.

Credit: The Pokemon Company, Gamefreak, Nintendo

Modern Media

These days, things have changed; like with many mythical monsters and legends, the Yuki Onna has been depicted and referenced in countless forms of media. In the gaming sphere, the Yuki Onna has appeared as a boss fight in Nioh, and has also served as the inspiration for Froslass, a character from the massively popular Pokémon series (pictured left). The anime Kyokou Suiri features the Yuki Onna as a key character, and she acts as an attendant to the protagonist in Nura: Rise of the Yokai Clan.

Whilst her legends have existed since ancient times, the Yuki Onna’s legacy remains strong today, chilling the bodies and minds of readers and travellers alike.


Sebastian Switzer, best known for his short story Ronin, lives in southern Ontario with his family. Sebastian began writing in 2018, specializing in suspenseful, high-fantasy fiction, and dabbling in as much mystery as he can manage; a sucker for action, his style’s never found standing still. He’s currently aiming his attention towards this very blog, where he covers myths and folklore from Japan’s storied history. Sebastian is often accompanied by his two cats, who frequently find themselves seated stoically between himself and his work.

Japan’s Three Sacred Treasures: Mythic Relics to Modern Legends

Overview

The sword Kusanagi-no-Tsurugi, the mirror Yata-no-Kagami, and the jewels Yasakani-no-Magatama; these are Japan’s three royal regalia, and have been passed down from emperor to emperor over centuries! They’re known as a key part of Japan’s culture and history, but where are they from? Why do they exist? What myths surround them, and what value do they hold today? Allow me to introduce to you, Japan’s three Sacred Treasures!

 

The Myth

Legends (and the eighth century Kojiki, a book full of Japanese myths and traditions) say that thousands of years ago, the sun goddess Amaterasu-no-Mikoto and her brother, the god of storms and the sea, Susano’o-no-Mikoto, got in a heated conflict; Susano’o had upset the lands of Japan, got kicked out of the heavens for it, and was banished to Earth.

The entrance to a cave as light shines in.

perhaps amaterasu was drawn out by a sight similar to this…

On the other hand, Amaterasu hid away within a cave, and in doing so, all light vanished from Japan, cloaking the land in darkness. This was, obviously, a problem, so hundreds of other gods came together to cook up a plan to get her out. They threw a grand party outside of the cave, with a long string of magatama jewels and a shining bronze mirror hung from a tree outside.

This commotion caused Amaterasu to poke her head out of the cave to investigate, and upon being told that they were celebrating due to finding a deity far superior to her, she was shown a reflection of herself within that hanging mirror. Enthralled and confused, she was stunned for just long enough for the other gods to pull her out and shut the cave behind her, returning light to the land. Now, it’s not stated anywhere, but I’d like to believe that Amaterasu got to enjoy the party for herself, at least a little bit, before it wrapped up.

 
A painting of a great wave overtaking ships off the coast of Japan.

Perhaps susano’o got kicked out of the heavens for pulling stunts like this… (credit to hokusai, the painter of this piece)

Meanwhile, Susano’o wandered the lands of Japan following his divine expulsion and happened across a weeping elderly couple with their lone daughter. They told him that an eight-headed and eight-tailed serpent was praying on their family, so with some cunning strategy involving getting the serpent drunk before slicing off its heads, Susano’o managed to fell the beast. After doing so, he went to cut off the monster’s tails, but found his blade shattered. After investigating, he found an impeccable blade lying within the tails and claimed it as his own. However, he soon chose to offer it to Amaterasu as repentance for his earlier misdeeds.

 

The Passing of the Treasures

Beyond that, it is said that Amaterasu later gifted the blade, mirror, and the string of magatama jewels to her grandson, Ninigi-no-Mikoto. It is believed that the three treasures represent the three virtues that are considered key to ruling over the land: The sword represents valour, the mirror represents wisdom, and the jewels represent benevolence. Ninigi was sent down to Earth to end the wars in Japan, with the three treasures in hand, bringing peace to the nation. Ninigi is said to be the great-grandfather of Japan’s first emperor, Jimmu, from whom the current emperor is directly descended. To this day, the three sacred treasures have been passed down from emperor to emperor, used to seal one’s ascension to the throne beyond any doubt. Whilst the treasures themselves are kept hidden from all but the current emperor and select priests, their influence and cultural weight remain as prominent as ever.

 

Their Appearances in Pop Culture

That influence even stretches beyond the confines of the emperor’s lineage, as modern pop culture has adopted and interpreted the sacred treasures in numerous different ways over the years. For example, a blade sharing the name Kusanagi-no-Tsurugi appears in the anime and manga Naruto, the character Kizaru from the anime and manga One Piece has a fighting technique named after Yata-no-Kagami, and numerous depictions of sacred magatama have appeared across media, from the Secret Stones in adventure game The Legend of Zelda: Tears of the Kingdom to the psyche-lock busting Magatama in the mystery games of the Ace Attorney franchise.

 

The three sacred treasures play an enormous role in Japan’s history, mythology, and culture, and that impact continues into the modern day as more and more stories adapt the mythic items for a modern audience. Even if the real regalia never see the light of day again, their story will shine on far into the future.

 

Sources used

·         Takenaka, Kiyoshi. “Factbox: Japan’s ‘Three Sacred Treasures’ Symbolise Emperor’s Legitimacy | Reuters.” Reuters, 26 Apr. 2019, www.reuters.com/article/world/factbox-japans-three-sacred-treasures-symbolise-emperors-legitimacy-idUSKCN1S303I/.

·         Charney, Noah. “Lost Art: The Mysterious Allure of Japan’s Three Sacred Treasures.” The Art Newspaper - International Art News and Events, The Art Newspaper - International art news and events, 15 July 2019, www.theartnewspaper.com/2019/07/15/lost-art-the-mysterious-allure-of-japans-three-sacred-treasures.

·         Holland, Oscar. “Japan’s Ancient and Mysterious Royal Regalia.” CNN, Cable News Network, 21 Oct. 2019, www.cnn.com/style/article/japan-enthronement-royal-regalia/index.html.

·         “Sanshu No Shinki.” Hubert Herald, www.hubert-herald.nl/NihonSanshunoShinki.htm. Accessed 10 Oct. 2024.

·         Doug. “The Three Sacred Treasures of Japan.” Gleanings in Buddha-Fields, 10 Mar. 2024, nembutsu.cc/2024/03/10/the-three-sacred-treasures-of-japan/.

·         Martin, Paul. “Ushering in the Reiwa Era: The Importance of the Three Sacred Treasures.” JAPAN Forward, 30 Apr. 2019, japan-forward.com/ushering-in-the-reiwa-era-the-importance-of-the-three-sacred-treasures/.

·         Philippi, Donald L., and 安万侶(-723). Kojiki; Translated with an Introduction and Notes by Donald L. Philippi. University of Tokyo Press, 1968.

 


Sebastian Switzer, best known for his short story Ronin, lives in southern Ontario with his family. Sebastian began writing in 2018, specializing in suspenseful, high-fantasy fiction, and dabbling in as much mystery as he can manage; a sucker for action, his style’s never found standing still. He’s currently aiming his attention towards this very blog, where he covers myths and folklore from Japan’s storied history. Sebastian is often accompanied by his two cats, who frequently find themselves seated stoically between himself and his work.