Bakekujira and Japan’s Whale Cults

Mizuki_Shigeru_Bakekujira

Translated and Sourced from Mizuki Shigeru’s Mujyara, Kaii Yokai Densho Database, Japanese Wikipedia, and Other Sources

Legends of a Great White Whale usually bring to mind Moby Dick, but the white of this whale is the color of its bones. For bones are all you can see of the Bakekujira—a massive, skeletal baleen whale that appeared and disappeared under mysterious circumstances once of the coast of Japan. Is it a monster? Is it a ghost? Is it a god? No one really knows for sure.

What Does Bakekujira (化鯨) Mean?

Bakekujira’s name is the same as many magical animals in Japanese folklore, with a difference of nuance. For most bake- creatures (bakeneko, bakenezumi, etc … ) the kanji 化 (bake; change) refers to a transformation, the ability to shift from one form to another. In Bakekujira—化 (bake; change) +鯨 (kujira; whale)—bake does not refer to a transformation. It just sounds scary and bizarre. This is one instance where translating bakekujira as “ghost whale” or “goblin whale” instead of “transforming whale” would be perfectly appropriate.

Inland Whaling2 Ukiyoe

The Tale of the Bakekujira

One rainy night, something massive and white appeared off the coast of Okino Island, Shimane prefecture. Fishermen from the village watched it get closer and closer, and finally decided to take a rowboat out and see what it was. From its size, they knew it must be some sort of whale, but no one had seen a whale like that before. As they rowed out their boat, they saw the waters of the ocean glimmer with thousands upon thousands of fish, the likes of which they had never seen.

As they neared the white whale, one of the fisherman threw his harpoon and it passed through the mass of white unnoticed. Their vision obscured by the pounding rain, the fishermen finally got a good look at the monster—it was the skeleton of a great baleen whale, without an ounce of skin nor meat on it. But it was moving and alive.

The men were terrified, even more so because the ocean was writhing with unknown fish, and the skies were filled with strange birds. In the distance they saw an island that hadn’t been there before, as if they had rowed into some mysterious country. Then suddenly the vision ended, and the massive bakekujira—for that is what they called it—retreated back to the open sea as quickly as it had come.

When the fishermen went back to shore, they speculated that it might have been the ghost of a whale killed in a hunt or some strange god. Whatever it was, the bakekujira was never seen again.

The History of the Bakekujira

That’s it. There is that one story of the one appearance of the bakekujira, and that is the sum total of knowledge on the boney beastie. Anything else you read about the bakekujira is pretty much just made up to try and fill in the gaps.

In fact, for being so well-known in the modern world, the bakekujira is a limited and obscure yokai. It wasn’t important enough to be added to Toriyama Sekien’s numerous Edo-period yokai collections; there aren’t any ukiyo-e prints or kaidan collections including the bakekujira—at least not that I could find when I was researching for this article. In fact, the first mention I could find of the bakekujira was from Mizuki Shigeru, whose cool character design seems largely (solely?) responsible for the bakekujira being known today.

But Japan does have a long history of whale gods and venerated bones, to which the bakekujira fits in nicely. So allow me to segue to another aspect of Japanese folklore—the Whale Cults of Japan.

Hyochakushin – The Drifting Ashore God

Whale God Ukiyoe

In pre-seafaring Japan—before Samurai William brought the secret of keels and ocean-going vessels—fishermen were limited to the coastal waters their small ships could take them too. They eked out a subsistence living harvesting what was in reach. But every now and then, the oceans would deliver a bounty beyond imagination.

Whales would sometimes come inland, or beach themselves on the shore. Fishermen hunted these whales in a practice called Passive Whaling, using harpoons to kill the whale that was trapped in the shallows. This was a rare and auspicious event—a single whale provided vast amounts of meat and resources for the village, and seemed like a gift from the gods. And the whale itself was only a piece of the bounty. Whales often came in following larges schools of fish, so their arrival meant an abundance of sea life beyond the leviathan itself. The arrival of a whale could save a village teetering on the edge of starvation and ruin. It was mana from the oceans.

Passive Whaling Ukiyoe

Like modern Cargo Cults, the villagers could not understand from where or why the whale came in to shore. They only knew that a whale meant wealth and rare full stomachs. Whales were considered to be embodied deities (神体; shintai), and whale religions sprang up in coastal villages, called Hyochakushin (漂着神; Drifting Ashore God) or Yorikami Shinkyo (寄り神信仰; The Religion of the Visiting Kami).

The Whale and Ebisu

These original whale cults were primitive. The people praying generally had one request—send more whales. But in time they evolved. Like many religions, the Whale Cults in Japan were built on a portion of respect and gratitude and a portion of fear. Because whaling—even Passive Whaling—was a dangerous operation, some whale religions also saw in whales the ability to be malevolent gods, and prayed to appease their spirits and assuage their wrath. Bad storms of poor catches could mean an angry whale god, and nobody wanted that.

In time, these whale religions merged with another, more popular deity, the god of abundance Ebisu. Whales were first thought to be emissaries of Ebisu, and then became considered to be an incarnation of Ebisu himself. Because whales were thought to have the power to control fish, fishermen began carrying images of the god Ebisu as a whale to give them the same fish-controlling powers.

Kujira Jinjya – Whale Shrines

120713_1102

When you have feasted on the body of a god, it only makes sense to give the leftovers a proper burial. After stripping the body of everything useful, villagers buried the whale carcass in mounds called Kujira Tsuga (鯨塚; whale mounds). Kujira Tsuga were capped with monuments of some sort, varying from carved stone tablets to pagodas to small wooden or rock shrines. Often these Kujira Tsuga were created in memory of some particularly bountiful harvest, and annual festivals where held like the Daihyo Tsuifuku (大漁追福; Big Catch Memorial Service). Or people prayed to the Kujira Tsuga for Kaijyo Anzen Kito (海上安全祈祷; Prayers to Ensure Safety at Sea).

Places where passive whaling was more prevalent also had Kujira Haka (鯨墓; whale graveyards) and Kujira Ishibumi (鯨碑; whale stone monuments). There are about 100 known whale graveyards throughout Japan.

Many Kujira Tsuga have their own legends and myths. In Miyagi prefecture, Kesenmema city, Karakuwa town, a legend is told of a ship foundering in the storm that was approached by two massive, white whales. The two whales swam to either side of the ship and steadied it, guiding it into port before sailing away. From that day forward, the citizens of Karakuwa down abandoned their ancient custom of whale eating.

The legend is attached to the MIsaki Shrine in Karakuwa, but the connection is not exactly accurate. Misaki Shrine is an old Kujira Tsuga, raised over a whale corpse and topped with a stone monument expressing gratitude for the whale’s death.

In Ehime prefecture, Seiyo city, Akehama town there are three known Kujira Tsuga, one of which is high up in the mountains. The shrine is ancient, and overlooks the ocean. It now sits along the national highway route making it much more accessible. Hauling up that carcass must have been quite the event.

On June 21st, 1837 (Tenpo 8th), a massive whale came to shore directly underneath this shrine. This was during the Great Tenpo Famine, and the whale saved the entire area from starvation. The villagers gave the whale a posthumous Buddhist name, meaning roughly “The Great Whale Scholar of the Universe who Brings Health.” That was extremely rare at the time, as posthumous Buddhist names was an honor reserved for great lords. The shrine is still honored by the villagers today

Whalebone Tori Gates

Whalebone Tori Japan

By the Edo period, Japan had become a seafaring nation and created a whaling industry and culture. Whaling Associations established and maintained official Whale Shrines in coastal areas, many of which still exist today. Whale shrines were also built in Taiwan when it was under Japanese rule, usually dedicated to Ebisu.

The most dramatic of these have Whalebone Tori gates—the picturesque post-and-lintel design that signifies the presence of a kami spirit.. The oldest Whalebone Tori is in Wakayama prefecture, Taijicho town, called the Arch of Ebisu. Ihara Saikaku mentions this Tori in his book Nippon Eitaigura (日本永代蔵; Japan’s Warehouse of Eternity; 1688). The tori is probably much older, however. The newest whalebone tori is in Nagasaki, Shinkamigostocho town at the Kaido Jinjya (Shrine of the Sea). Dedicated in 1973, it was built by the Japan Whaling Association.

Nirai Kanai

In an odd and unrelated Okinawan legend, a whale dressed in a kimono was said to have brought the secrets of rice cultivation to Japan. You can read more about this in my article on Nirai Kanai.

The Curse of the Bakekujira

Island Whale Ukiyoe

There are two odd footnotes to the story of the bakekujira, that don’t really fit in anywhere else so I am sticking them on here at the end.

In the 1950s, manga artist Mizuki Shigeru was working on a kamishibai story about the bakekujira, and also eating a lot of whale meat. He suddenly came down with a terrible fever, that only stopped when he quit working on the story. He calls this the “Curse of the Bakekujira.”

In 1983, an intact whale skeleton was spotted floating off the shores of Anamizu, Ishikawa prefecture. The press jumped on the story naming it a “real-life bakekujira.”

Translator’s Note:

This article was done at the request of comic book writer Brandon Seifert, who does the incredibly cool folklore/horror comic Witch Doctor, as well as other things. If you are a folklore fan, I highly recommend his work. And look for the bakekujira to possibly pop up his boney head in one of Seifert’s upcoming comics!

Further Reading:

For more tales of ocean-going yokai, check out:

Umibozu – The Sea Monk

Funa Yurei

Nirai Kanai

The Appearance of the Spirit Turtle

Ushi no Koku Mairi – Shrine Visit at the Hour of the Ox

Ushi_no_Koku_Mairi_Mizuki_Shigeru

Translated and Sourced from Mizuki Shigeru’s Mujyara, Kaii Yokai Densho Database, Japanese Wikipedia, and Other Sources

At the Hour of the Ox (between 1-3 A.M.) a lone figure creeps silently towards a sacred tree. She is dressed in white, and on her head an upturned trivet is worn like a crown, three candles burning in the night. In one hand, she carries a doll made of bound straw in the form of a person; in her other hand, a small wooden hammer and a set of long, iron spikes. The hatred in her heart blazes brighter than the candles, appropriate for one completing the curse-ritual known as Ushi no Koku Mairi, the Shrine Visit at the Hour of the Ox.

The Ritual

Ushi no Koku Mairi (丑の刻参り; also known as 丑の時参; Ushi no Toki Mairi, both of which translate as Shrine Visit at the Hour of the Ox) is an ancient, famous, and terrible Japanese curse-ritual. It has been performed for millennia—some sources trace it back as far as the Kofun period (250 – 538 CE), although in a different form. While the costume and ritual have changed over the centuries, the basic rite of pounding nails into dolls remains the same.

To perform an Ushi no Koku Mairi, you first make a straw doll (藁人形; waraningyo) to serve as an effigy of the person you want to curse. For the best effect, the doll should have some part of the person in it, some hair, skin, blood, fingernails, or other DNA. In a pinch a photograph will do, or even their name written on a piece of paper. This done, you done the ritual costume, and sneak into a shrine late at night. Many Shinto shrines have sacred trees, called shinboku, that are the homes of kami spirits. Nail the doll to the sacred tree using long, iron spikes called gosunkugi (五寸釘).

ushinokokumairi

As stated in the name, the timing is very important. The ritual can only be completed at the Hour of the Ox, between 1-3 A.M. in the ancient method of counting time in Japan. The Hour of the Ox is the traditional Witching Hour in Japan, a time when yurei and yokai and other evil spirits come haunting.

And most importantly—the ritual must be done in secret; it is said that if anyone sees you performing Ushi no Koku Mairi, the curse will rebound on the caster. Unless, of course, the eyewitness is immediately slain.

How many times you perform the ritual vary; some say that you must go back seven nights, pounding in a single nail each night. The final nail goes into the head, which will kill the cursed person. The results of the curse vary as well—some say the cursed person will sicken and die. Some say that, like a Voodoo doll, the cursed person will feel pain where the spikes are hammered in. Some say it is a summoning ritual, and that performing an Ushi no Koku Mairi summons a vengeful spirit to torment and ultimately destroy the recipient.

The Costume

An important component to the ritual is the costume. One does not simply waltz into a shrine and pound a doll into a tree. The costume is a demonstration of your intention, and is more than just decoration; the curse is said to be so terrible that in order to be effective you must become a demon yourself.

SekienUshi-no-tokimairi

Although the costume has changed over the years (and there are numerous variations depending on your source), the most recognizable version comes from the Edo period, and is still associated with the ritual.

• A white kimono and obi, with your face painted white (to look like a supernatural creature)
• An upturned trivet on your head, with three candles burning on the legs
• A mirror (a sacred symbol of Shinto) worn over your chest like a necklace
• A shortsword tucked into your sash, to kill anyone that sees you
• Tall, one-toothed geta clogs (or barefoot, if you can’t walk in them)
• A wooden comb (in some accounts, a razor) held between your teeth (It is important not to utter a sound once you enter the shrine, and the comb keeps you silent.)

Some variations of the costume swap out a headband and two candles for the trivet, but I think if you are going to do it, go all out.

The History of Ushi no Koku Mairi

No one really knows how old the ritual really is. In the Nara National Research Institute for Cultural Properties, the is an 8th century relic from an archeological dig of a doll made of bound wooden strips with an iron nail shoved through the chest. This is from a time when iron had just been introduced into Japan, and would have been a rare commodity. In the ruins of Datecho in Shimane prefecture, Matsue City, archeologists found a wooden plaque with a painting of a court lady that had wooden spikes pounded through it. It is known that dolls for curses were used by Onmyoji , the yin/yang sorcerers of the Heian period (794 – 1185 CE).

Going to the shrine at the Hour of the Ox has not always been associated with curses, however. Old records show that people originally snuck in to pray, and that during these nighttime visits your pleas to the kami were more likely to be answered. Somehow, along the way, these prayers for a kami’s blessing turned into prayers for a kami’s curse.

One of the oldest written accounts of the ritual comes from the Sword scroll of the Kamakura period epic poem The Tale of the Heike. It differs from modern accounts—the costume calls for you to bind your hair into five braids, to use bound-together pine branches threaded into an iron ring for torches, and to cake your face in red vermillion clay instead of painted white. Also, instead of a late-night sneak visit to a shrine, the curser runs down the street shouting their curse for all to hear. According to the story, the ritual was taught to a woman by a kami spirit, after she prayed for revenge at a local shrine. The woman would transform into the monstrous Hashi Hime (Bridge Princess), still wearing her frightful costume.

In the Muromachi period (1337 to 1573 CE), a Noh play called Kanawa (鉄輪; Iron Ring)is credited with drawing a connection between the Onmyodo doll ritual and the costume of the Hashi Hime, creating the first account of the Ushi no Koku Mairi as it is known today.

A_woman_makes_a_cursing_ritual_ceremony

By the Edo period, the Ushi no Koku Mairi was firmly established and illustrated by artists in kaidan-shu collections of stories of the strange. One of the main differences in Edo period artists was the results of the ritual—many preferred to show some evil spirit or god lurking in the background, waiting to be summoned by the completed ritual.

Where to Perform the Ritual

Not all shrines are created equal for Ushi no Koku Mairi. Kifune Jinja in Kyoto and Ikurei Jinja in Niimi, Okayama, are famous sites for Ushi no Koku Mairi, as is Jishu Jinja, a small shrine located near the Kyoto Buddhist temple Kiyomizudera. If you look carefully, these sacred sites have shinboku trees that still bear the scars of centuries of iron nails pounded in by vengeance-seekers.

Ushi no Koku Mairi Tree

And if all this seems like a lot of work to put together, don’t worry. In the modern world, a complete Ushi no Koku Mairi kit can be ordered online. But be careful, performers of the ritual can be prosecuted under Japanese law.

Ushinokokumairi_kit

Translator’s Note

The Ushi no Koku Mairi was a difficult project–difficult in knowing what to leave in, and what to leave out.  There are SO many different variations on the ritual it would be impossible to include them all.  I tried to add in what I thought was relevant, and appeared in the highest number of resources.  But this is by no means a complete account.

This is the second of my trivet-wearing yokai stories. Next up is a direct ancestor of the Ushi no Koku Mairi, the Hashi Hime.

Further Reading

For related kaidan stories, check out

Gotokoneko – The Trivet Cat

What are Teruteru Bozu?

The Mistress of Tonbu and Nezu

Kasha – The Corpse-Eating Cat Demon

Sourced and translated from Mizuki Shigeru’s Hyakumonogatari, Kaii Yokai Densho Database, Japanese Wikipedia, Yokai Jiten, Nihon Kokugo Dai-ten, and Other Sources

If you have been a bad person all your life, your troubles are not over when you are dead. During your funeral procession, as the priest and the mourners carry your coffin there is suddenly a crack of thunder and roaring from the sky to steal your dead body and drag it to hell comes … what? A flaming chariot? A cat demon? A cat demon riding a flaming chariot?

Or maybe you have just died at home, and your once beloved house pet thinks that your sin-ridden body would make a delicious snack.

Kasha are one of the most confused of Japan’s yokai. Over the centuries kasha have evolved from a fiery cart pulled by devils to an aged cat that changes form into a corpse-eating monster. Even the calling them yokai is dubious. Although yokai can be a catch-all term for Japan’s monsters, the kasha are more properly demons. They have more in common with Hell-dwellers like oni, and are found on Kamakura period Hell Portraits designed to terrify people into following the righteous path of the Buddha.

What does Kasha mean?

Kasha uses the kanji火車 which translates easily as Fire (火) chariot (車). The kanji can also be read more explicitly as hi no kuruma (火の車 ) meaning the same thing.

That’s the easy part. Now what is a kasha? That’s the hard part.

Kasha – The Fire Chariot

During the Kamakura period (1185–1333), there was an apocalyptic belief in mappō, meaning the Latter of the Days of Law. Like some Christians today, Buddhist believed they were living in End Times and had no more life times in which to which to redeem their souls; they were stuck between Hell and redemption by the Amida Buddha. This lead to a form of art called Hell Scrolls (地獄草紙; Jigoku Zoshi), which depicted the painful suffering awaiting those who didn’t hurry up and get saved.

Most of these paintings depicted oni tearing people apart and feasting on their body parts. And sometimes these oni carried these poor bodies in flaming carts. The belief eventually developed that oni crawled the Earth looking for sinners and piled them in flaming carts or chariots to drag before the dread judge of Hell Emma-O.

As with much Japanese folklore, the image of the flaming chariot took a nap while Japan fought the massive civil war known as the Sengoku era, and was re-awakened during the Edo period yokai boom. Stories began to appear in kaidan-shu collections of the kasha, or hi no kuruma, a flaming cart that descended from the sky. The cart was said to be accompanied by thunder and great winds, and a funeral procession where thunder was heard raised an alarm that the kasha was coming.

The role of the kasha was undecided early on. In the early Edo period book Kii-zodanshu (奇異雑談集; 1687; A Collection of the Idle Chat of Mysterious Things) there is a story called “The Thing that came from the storm clouds to steal a corpse in the Manor House near the rice fields of Echigo.” During a funeral procession there was a loud clap of thunder and a beast riding a flaming cart came down from the sky and snatched the dead body. An illustrator depicted the kasha as being ridden by Raidin, the Shinto deity of thunder and lighting.

Another story, from Shin Chobun-shu (新著聞集, 1749, New Tales of Things Known the World Over) called “Saint Neyo and a visit from the Kasha,” had the Buddhist saint Neyo come out to meet the flaming chariot. But instead of a messenger from Hell, it was an ambassador from the Jyodo Pure Lands. The saint begged the kasha for a little bit more time on Earth, and the cart came back exactly a year later to take him to the Pure Lands.

All of the appearances of this kasha were heavily influenced by Buddhism. Most of the stories follow the same theme; a flaming cart that snatches up the bodies of those who have accumulated a lifetime of misdeeds. To protect these bodies from kasha, priests placed rosaries around the necks of the dead bodies, although that was no guarantee. Some said that the kasha was either a messenger of the divine or the infernal depending on the karmic state of the dead body.

Kasha – The Corpse-Eating Cat Demon

So how did this flaming cart from the sky become a cat?

Like much with yokai, the origin of the cat-like form of kasha is said to come from artist Toriyama Sekien. When Sekien drew a kasha for the second volume of his Gazu Hyakki Yagyō (画図百鬼夜行; “The Illustrated Night Parade of a Hundred Demons) in 1776, he drew the bizarre cat-demon covered in flames. Like his spiritual successor Mizuki Shigeru, Sekien often blended his own imagination in with folklore, and simply invented things as well. He didn’t begin to add notes to his yokai prints until the successive volumes, so we don’t know why he chose to make the kasha a cat.

For whatever reason, Sekien’s influence on yokai was so profound that people accepted the cat-like kasha and the stories began to follow. In Boso manroku(茅窓漫録; Random Talk of Outside Cogon Grass, 1833) a typical story was told of a funeral procession interrupted by a mighty wind and thunder that swept away the coffin as a kasha came down to retrieve the corpse. This kasha was not the flaming chariot however, and was identified as a moryo, an flesh –eating animal spirit, and was drawn resembling a cat—some also point out the resemblance of the Chinese pronunciation of moryo, kuhasha, as being related to the association of cats with kasha.

In another book, Hokuetsu Seppu ( 北越雪譜; Snow Country Tales, 1837), a story is told—said to come from the Tensho era (1573-1592) in Eichigo province (Modern day Nigata prefecture)—where a funeral is interrupted by a gust of wind and a fireball that comes from the sky. Inside the fireball is a massive two-tailed cat (the calling card of the nekomata) that snatches up the coffin. But the priest attending the funeral beat away the kasha with his staff.

Over time, this cat-form of kasha began to dominate, and other Japanese cat legends became associated with kasha. Like the neko mata and the bakeneko, kasha were said to be transformed house pets that lived an unusual span. Others said it was the presences of corpses that cause the transformation. Cats who jumped over coffins were said to be able to wake the dead. A cat left alone too long with an unattended corpse would transform into a kasha and drag the body away. Fear of the kasha became so great that when someone died the household cats were instantly banished, and coffins were even weighed down with rocks to prevent them from being drug away.

This particular element makes logical sense. Cats eating their dead owners is a real thing. The phenomena is called postmortem predation and, while dogs do it too, cats are well known to waste little time making a meal of their former owner. After a day or two alone with a corpse cats will start to chow down. If a person dies alone, and the corpse is undiscovered for weeks, the family pet might make a nice little feast and leave little left to be discovered. Because of this it doesn’t take too much imagination to see how the flaming chariot that comes from the sky to snatch bodies became mixed with the very real situation of a cat eating a corpse.

Other Kasha

Japan has many other yokai similar to kasha, some even using a variation of the name. The kasha baba is one common variation, which has the same story of someone who snatches corpses from funerals but instead of a cat-like creature it is an old woman. In Kanra-machi in Gunma prefecture there was the legend of the tenmaru that snatched corpses from funerals and graveyards. To protect the dead bodies, caskets were protected by bamboo cages as part of the burial.

Read more yokai magical animal tales on hyakumonogatari.com:

Nekomata – The Split-Tailed Cat

The Cat’s Grave

The Tanuki and the White Snake

The Appearance of the Spirit Turtle

What is the White Kimono Japanese Ghosts Wear?

Translated from Japanese Wikipedia and Other Sources

Black hair. White face. White kimono. Whisper the word Japanese ghost to anyone, and that is the image that will appear in their head. For Americans, the image generally comes from Japanese horror films where white-kimonoed girls crawl from TV sets or rise from wells. But to Japanese people, the costume of a white kimono has a more somber feel. Most likely over their lives they will wrap more than one loved one in the traditional burial garment called a kyokatabira.

Kyōkatabira – The Buddhist Robe

The white kimono that most Japanese take their final journey in is called a kyokatabira. The word is split into two terms: kyo (経) which means Buddhist sutra, and katabira (帷子) which is a light, unlined kimono worn on informal occasions, such as rising in your own house in the morning.

Katabira were traditionally made from hemp and came into fashion around the Heian period (794 to 1185). At the time, katabira were a form of underwear. They were stuffed with cotton and used to keep warm as a sort of wearable blanket. But as summer came and people shed layers, they soon learned that the simple, single-layered garment was just as comfortable in Japan’s humid and oppressive summer. These were eventually adapted for use in the bathhouse, which were called yukatabira (湯帷子). This word was later shortened to yukata, a light kimono that are still worn in Japan today— although the kanji 浴衣 is more commonly used.

The use of the white katabira is thought to have appeared around the same period, as a mix of Shinto and Buddhist tradition. The Emperor was said to wear a white kimono when performing religious rituals during the Heian period. Unlike the coarse hemp of the commoners, the Emperors garment was spun from silk and was called a byakue (白衣) meaning nothing more complicated than “white robe.” Shinto priests adopted the fashion, with a full costume called jōe (浄衣) meaning “purified robe.” Brides on their wedding days wore a white kimono called a shiromuku (白無垢) meaning “white purity.”

Buddhist priests preferred the rough hemp over the fine silks of the byakue and jōe, and took to wearing what was called kyōkatabira. As the name suggests, kyōkatabira were standard white katabira inscribed with Buddhist sutras. Kyōkatabira came to be work by Buddhist on pilgrimages as they travelled Japan.

All of these types of garments: byakue, jōe, shiromuku, and kyōkatabira; fall under the category of shiro-shozoku (白装束) meainging “white clothing.”

What is the significance of the color white? – Priests, Brides, and Corpses

I sometimes hear people say that white is the color of death in Japan, but this is a mistake. White is the color of purity.

For as long as anyone knows, white in Japan has been the color of purity, specifically ritual purity. The native religion Shinto has always been concerned with cleanliness and purity. At most Shinto shrines there is a place for you to wash yourself before entering.

Ritual purity means more than just taking a good bath, although that is a part of it. In order to be ritually pure, you must be cleansed of kegare (汚れ) meaning “impurities,” which can only be done through a serious of prescribed enigmas under the guidance of a priest. Wearing a white kimono is a visible sign of purity, and is generally done by only three classes of people; priests, brides, and corpses (or those soon to be corpses, like people commiting seppuku).

And of course yurei, Japanese ghosts.

Shinishozoku- Costume for the Dying

Around the 700s, Buddhism arrived in Japan and began to grow in popularity. Buddhism in Japan mixed with Shinto to create a unique religion quite different from its Indian origins. Over time, Shinto and Buddhism split until each oversaw a different aspect of humanity, the kami of Shinto overseeing the living and the deities of Buddhism caring for their souls in death. Buddhism slowly took over all funeral rites, which remains with way it is in Japan today.

In Buddhism, death is not the ending but just the beginning of another cycle. Appropriately, Japanese Buddhist dressed corpses as pilgrims going on their final journey, called the shidenotabi (死出の旅) meaning “the final trip to death.” The full costume for a corpse is called shinishozoku (死に装束),which means roughly “the costume for one going to death.”

A complete shinishozoku will have the corpse dressed in a kyōkatabira with sutras written on the inside and folded right-over-left in the opposite style, a tankan-the triangle-shaped headband, a zutabukuro-a small carrying bag containing ferry passage over the Sanzu river of the dead, a walking cane, and coverings for the legs, arms, and back. The final item is a string of prayer beads nestled in the hands.

What is the significance of folding the kimono right-over-left?

A common occurrence in Japan is seeing a foreigner trying on a yukata for the first time, and eliciting a room full of gasps as they innocently take the right side of the yukata and fold it over the left. I did. And I had no idea why everyone was so shocked.

I found out soon enough that the right-over-left style is reserved exclusively for corpses, Living people always—ALWAYS—fold their yukata or kimono left-over-right. But why? That, no one could tell me.

It took some digging to find the answer, but it comes back to that old Asian favorite, class distinction by clothing. Apparently in ancient China the way you folded your kimono was a visible way to show your rank. Like foot-binding and long fingernails, it was also a way to purposefully hobble yourself to show that you did not need to work for a living.

Folding your kimono left-over-right allows a greater freedom of movement, such as was required by field workers. The leisure class thumbed their noses at freedom of movement, and purposefully folded their kimono right-over-left. During the Nara period, when Chinese culture influenced Japan, this custom was taken up enthusiastically by the aristocratic classes.

Death, however, knows no distinction of rank. One of the principles of Japanese religion and folklore is that the dead are mighty, and you don’t want to offend them. So it became the custom that all dead people, no matter what they were in life, rose to the aristocratic right-over-left class and folded their kimonos that way for their final journey.

The meaning of the kyōkatabira

So the white kimono, the kyōkatabira, is much more than a simple garment. It is a statement of transformation. It shows that here, on their last journey, a person has become ritually pure in the Shinto tradition, a holy pilgrim in the Buddhist tradition, and a wealthy aristocrat in the human tradition.

Few other items of clothes so completely raise you simply buy putting them on. Of course, you have to be dead to wear it, so there is a trade-off.

Further Reading:

Check out other death customs from hyakumonogatari.com:

What is the Triangle Headband Japanese Ghosts Wear?

Nagarekanjyou – A Death Custom

Kimodameshi – The Test of Courage

Translated and sourced from Japanese wikipedia and other sources

Are you brave enough? That is the question that will be answered by playing kimodameshi, the Japanese test of courage. You will have to walk a dark, lonely path to a haunted location and set down your token to prove that you had been there.

The Meaning of Kimodameshi

Kimodameshi (肝試し) is most often translated into English as Test of Courage, which is not literally accurate. The word kimo (肝) actually refers to the liver, while dameshi (試し) does in fact mean “test.” In Japan the liver is associated with courage—for example kimo ga suwaru, or to sit on your liver, means to be brave or self-assured. So a more literal translation of kimodameshi would be to “prove your guts.”

The History of Kimodameshi

Like most folkloric practices, the factual origin of kimodameshi is lost to legend. But there are two possible beginnings, both of which could be equally true.

In the closing years of the Heian Period, during the reign of Emperor Shirakawa (1073 to 1087), the book “O-kagami” (大鏡; “Great Mirror”) was written by an unknown author. In the book was a story of three sons of Fujiwara Kaneie. One night during the Hour of the Ox (around 3 A.M.), the sons dared each other to go to a nearby house that was known to be the home of an oni. Only the son who was the leader of the martial arts school was brave enough to take up the challenge, and as proof of his courage he used his sword to slice a chip from the lintel of the house which he brought back to show the others.

Whether the story of the sons of Fujiwara Kaneie is true or not is unknown, but it is also said that kimodameshi began as a way for those of the samurai class to condition their children against fear, and that the game served as a kind of training.

During the Edo period, the 100 candles game hyakumonogatari kaidankai—which this site is based on—was a form of storytelling kimodameshi. The earliest recording of this game comes from the kaidan-shu “Tonoigusa” (1660) where a group of samurai gather to test their courage by telling ghost stories one by one.

Modern Kimodameshi

There are no set rules to kimodameshi, and there are as many variations as there are people who play it. Kimodameshi can be played impromptu, with only a few friends egging each other on to go somewhere scary or haunted, or it can be an organized event with a preset course, often inside a prepared haunted house with actors playing the roles of spooks.

In its most pure version, a group chooses a destination, one guaranteed to inspire fear. Common examples are dark forests, grave yards, Shinto shrines, abandoned buildings, or known haunted and mysterious spaces called shinrei spots. Challengers can go alone or as a duo. They go to the chosen spot at night, to ensure maximum fear, and they either bring something back to prove that they had gone the distance, or leave some sort of token that can be recovered the next day.

Like all Japanese ghost traditions, kimodameshi traditionally takes place in the summer. In Japan, summer is when the land of the living is thought to intersect with the land of the dead, and it is the time when yokai and yurei come out to play. All organized haunted house kimodameshi will take place during the summertime. It isn’t unusual to see TV celebrities during the summer being filmed walking through a haunted house or to some famous location in a game of kimodameshi.

There are some legal issues with kimodameshi. When an abandoned building becomes a popular spot, the police have been known to set up stings to arrest trespassers. Some of the locations themselves are dangerous, such as long, dark tunnels on country roads where a car can come through at any time.

School Kimodameshi

Many Japanese people experience kimodameshi when they are young, in Elementary or Junior High School. The game is played when the children go on school camping trips, or sometimes at school during school festivals. When played with school children, the game is a set-up.

In order to keep them safe, and still provide a good scare, the location is scouted before hand and scary objects like skulls and horror-props are planted along the way. Teachers and other volunteers dress in ghost costumes and hide along the path to spring out at the children. All of the students are told a scary story about that particular location, then sent off in groups to prove their guts once the Sun has gone down.

Students can also create their own kimodameshi events at school during school festivals. They dress up in costumes and turn one of the classrooms into a haunted house for other students to enter and test their courage.

Previous Older Entries

Copyright notification

All translations and other writing on this website were created by Zack Davisson and are copyright to him.

Copyright notification

In accessing these web pages, you agree that any downloading of content is for personal, non-commercial reference only.

No part of this web site may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission of Zack Davisson.

Copyright notification

For rights clearance please contact Zack at:

zack.davisson (at) gmail.com

Thank you.

Follow

Get every new post delivered to your Inbox.

Join 281 other followers

%d bloggers like this: