goryō yōkai

Crowd sourced content that is contributed to World Heritage Encyclopedia is peer reviewed and edited by our editorial staff to ensure quality scholarly research articles. [27] Furthermore, there is a favorable view that says that introducing various yokai characters through these books nurtured creativity and emotional development of young readers of the time.[28]. The characteristics of yōkai range diversely from malevolent and mischievous entities believed to cause misfortune and harm, to those who are considered to bring good fortune to those who encounter them. In Japanese folkloristics, yokai are divided into categories depending on where they reportedly appear, and they are indexed as follows in the book Sogo Nihon Minzoku Goi (綜合日本民俗語彙, "A Complete Dictionary of Japanese Folklore"):[11], The ancient times were a period abundant in literature and folktales mentioning and explaining yokai. [15], Yamata no Orochi was originally a local god but turned into a yōkai that was slain by Susanoo. Often they possess animal features (such as the Kappa, which is similar to a turtle, or the Tengu which has wings), other times they can appear mostly human, some look like inanimate objects and others have no discernible shape. [16] Yasaburo was originally a bandit whose vengeful spirit (onryo) turned into a poisonous snake upon death and plagued the water in a paddy, but eventually became deified as the "wisdom god of the well (井の明神). This was done with the help of priests and onmyōji, through the religion known as goryō shinkō—the religion of ghosts. Translation: honored ghost The kamishibai from before the war, and the manga industry, as well as the kashi-hon shops that continued to exist until around Showa 40 (the 1970s), as well as television contributed to the public knowledge and familiarity with yokai. Japanese folklorists and historians explain yōkai as personifications of "supernatural or unaccountable phenomena to their informants." In Buddhist paintings such as the Hell Scroll (Nara National Museum), which came from the later Heian period, there are visual expressions of the idea of oni, but actual visual depictions would only come later in the Middle Ages, from the Kamakura period and beyond. From these examples, it can be seen that among Japanese gods, there are some beings that can go from god to yōkai and vice versa.[18]. This article will be permanently flagged as inappropriate and made unaccessible to everyone. Also, including other kinds of publications, other than yōkai born from folk legend, there were also many invented yōkai that were created through puns or word plays, and the Gazu Hyakki Hagyo by Sekien Toriyama is one example of that. Thus, the modernization of society has had a negative effect on the place of yōkai in classical Japanese culture. [5] It was believed that these spirits possessed various kinds of emotions, and if the spirit was peaceful, it was a nigi-mitama that brought about good fortune such as a good harvest, and if the spirit was violent, it was an ara-mitama that brought about ill fortune such as natural disasters and illness, and the ritual for converting ara-mitama into nigi-mitama was called the chinkon ("the calming of the spirits"). The next major change in yokai came after the period of warring states, in the Edo period. For examples, tales of yōkai extermination could be said to be a result of emphasizing the superior status of human society over yōkai. WHEBN0000238611 [27] Furthermore, there is a favorable view that says that introducing various yōkai characters through these books nurtured creativity and emotional development of young readers of the time. Yokai Wiki is a FANDOM Lifestyle Community. Instead of yōkai, sometimes the word mononoke (written 物の怪) is used. They are also frequently depicted in ukiyo-e, and there are artists that have drawn famous yōkai like Utagawa Kuniyoshi, Yoshitoshi, Kawanabe Kyōsai, and Hokusai, and there are also Hyakki Yagyō books made by artists of the Kanō school. The tendency to use yokai as objects of entertainment can be seen starting from the middle ages,[9] and becoming definitive in the Edo periods and beyond.[10]. Their revenge is often in the form of fires, wars, plagues, droughts, floods, storms, the deaths of imperial family members, and other disasters which the ancient nobility viewed as curses. Over centuries, their behavior changed from spirits of the damned to active defenders of Dharma. Later works of Kyōka such as Yasha ga Ike were influenced by The Sunken Bell, and so it can be seen that folktales that come from the West became adapted into Japanese tales of yōkai. Yōkai range eclectically from the malevolent to the mischievous, or occasionally bring good fortune to those who encounter them. [8], As time went on, the things that were thought of as supernatural became fewer and fewer. Various kinds of yōkai are encountered in folklore and folklore-inspired art and literature. While there were religious publications such as the Jisha Engi (寺社縁起), others, such as the Otogizōshi, were intended more for entertainment, starting the trend where yokai became more and more seen as subjects of entertainment. The word 'yōkai' is made up of the kanji for "bewitching; attractive; calamity" and "spectre; apparition; mystery; suspicious. In the Edo period, many artists, such as Toriyama Sekien, invented new yōkai by taking inspiration from folk tales or purely from their own imagination. Yōkai play a role in attracting tourism revitalizing local regions, like the places depicted in the Tono Monogatari like Tono, Iwate, Iwate Prefecture and the Tottori Prefecture, which is Shigeru Mizuki's place of birth.

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