𝕐𝕠𝕜𝕒𝕚: 𝔽𝕒𝕟𝕥𝕒𝕤𝕥𝕚𝕔 ℂ𝕣𝕖𝕒𝕥𝕦𝕣𝕖𝕤 𝕠𝕗 𝕁𝕒𝕡𝕒𝕟𝕖𝕤𝕖 𝔽𝕠𝕝𝕜𝕝𝕠𝕣𝕖 ℙ𝕒𝕣𝕥 𝟚

While the oni is gone, pick up beans — Oni no rusu ni mame hiroi (鬼の留守に豆拾い) 

HISTORY OF YOKAI

Origin

The portrayal of yōkai as terrifying monsters originated during Japan's Nara period (710-794). While the term has ancient roots in China, it first appears in Japanese literature in 772, mentioned in the Shoku Nihongi as part of Shinto purification ceremonies.

Legends of heroes defeating yōkai can be traced back to texts like the Kojiki and Nihonshoki from as early as the 8th century.

The legend of Susa-no-O

An example of one of these stories is the legend of Susa-no-O, the Dragon Slayer, recounts his encounter with Yamata no Orochi, a gigantic serpent with eight heads and eight tails. His length is such that he spans eight valleys and eight mountain peaks. If you look at his belly, you see blood oozing all over it.

 After being banished from the gods' realm, Susa-no-O agrees to marry the family's daughter in exchange for slaying the monster. By cleverly tricking the dragon into drinking sake and decapitating each head as it sleeps, he achieves the task. 

These tales, known as "Yōkai Taiji" or "vanquishing yōkai," feature brave heroes rescuing people or cities from evil yōkai, often found in untamed locations like mountains and forests.

Heian Period (794-1185)

During the Heian period, yōkai in Japan were perceived as terrifying beings influenced by daily superstitions, such as the fear of the "night parade of one hundred demons." 

Onmyōji deepened these fears with rumors of summoning demons, while societal anxieties, like Mappo, intensified yōkai fears. 

Seen as manifestations of people's fears, yōkai were invisible and unpredictable, with stories primarily focusing Oni, Tengu, Kitsune, and Tanuki, reflecting their significant cultural presence.

Yōkai, with their origins dating back to the 8th century, began appearing visually in Japan's medieval period. Notable among these depictions are the "Night Parade of One Hundred Demons" scrolls, featuring various creatures. 

These yōkai were once discarded objects like instruments and utensils, which transformed into animate beings, parading at night to cause mischief and seek revenge. These scrolls, reproduced since the 14th century, reflect Japan's reverence for tools.

Japan’s Oldest Confirmed Yōkai Scroll

Emaki (picture scrolls), are the oldest form of document relating to yōkai that remain to this day. The earliest of these Hyakki Yagyō, date back to the Muromachi Period (1392-1573), painted by Tosa Mitsunobu (1434-1525), founder of the Tosa school of painting. 

Housed in Shinju-an, a sub-temple at Daitokuji Temple in Kyōto, it's the earliest document solely featuring yōkai. Earlier depictions, such as the Tsuchigumo scroll from the 1300s, focused on human characters like Minamoto no Yorimitsu (944 – 1021) slaying Tsuchigumo. Mitsunobu's scroll influenced yōkai depictions throughout the Edo Period, appearing in various art forms.

Edo's Yokai Revolution - Weird Tales and Weird Tastes

It was during the Edo period (1603-1868) when the weird and supernatural became popular and yōkai's portrayal as iconic figures of the horror genre reached its peak.

The popularity of yōkai in the horror genre was no longer formed by yōkai taiji (vanquishing yōkai) and rumors of hyakkiyagyő, but rather by the development of storytelling traditions with yōkai as the central character who wreaks havoc on the daily lives of commoners. 

The development of new yōkai storytelling began during the rule of the eighth Tokugawa Shōgun, Tokugawa Yoshimune in 1716.

During the Edo period, Shogun Yoshimune initiated a project to develop Japan's own medicinal studies to reduce reliance on imported medicine. 

This effort led to increased public interest in national history and identity. By 1757, pharmaceutical meetings showcased discoveries and rare items, sparking fascination with the strange and supernatural, including yōkai stories. This period also saw the rise of Hyaku-monogatari, a popular supernatural entertainment.

Spooky Tales Hyaku-Monogatari 百物語

 Hyaku-monogatari is a night-time game where participants share personal, heard, collected, or invented ghost stories. according to a 1718 text participants share ghost stories, extinguishing a lamp after each tale until a monster (Bakemono) said to be appear. 

The number one hundred is linked to the Kamakura period (1185-1333) yōkai tsukumogami, everyday objects gaining spirits after one hundred years. This belief inspired tales of hyakkiyagyō, night processions of one hundred demons.

 The game's popularity boosted yōkai stories, leading to new written collections and adaptations. Despite the oral tradition faded by the mid-1700s, written versions remained popular, fostering a community for exchanging yōkai tales. Commercial publishing further intensified yōkai terror through illustrated encyclopedias.

Toriyama Sekien (1712-1788) and the Gazu Hyakkiyagyō Series

Toriyama Sekien (1712-1788), a priest and artist from Edo, created four influential yōkai encyclopedias: Gazu Hyakkiyagyō  (1776), Konjaku Gazu Zoku Hyakki (1779), Konjaku Hyakki Shūi (1781), and Gazu Hyakki Tsurezure Bukuro (1784). 

These works catalogued over 200 yōkai, dedicating a page to each with detailed descriptions and illustrations. While earlier yōkai scrolls existed in Muromachi Period (1337-1573), Toriyama's encyclopedias were significant for treating yōkai as a distinct study category, combining established and original creations, and making their traits accessible to the general public.

Negishi Yasumori's (1737-1814) Compile

Negishi Yasumori, originally Izō Anjo, was born in 1737 to a low-ranking samurai family. His fortunes changed when he became the successor to Negishi Mori, receiving an inheritance and changing his name. Starting as an accountant, Negishi rose through the ranks and was transferred to Sado Island in 1782 as a town inspector. 

There, he began compiling strange local stories, leading to the creation of the Mimi bukuro. Negishi eventually became chief inspector and earned the title Hizen-no-kami. 

Negishi Yasumori, serving as Minister of all Southern Edo for 17 years, compiled most of the Mimi bukuro during his tenure. He continued adding stories until his death in 1814, nearly reaching 1000 tales in his final scroll.

Meiji Era (1868-1912) Modern Disciplines

Inoue Enryō and the Invention of Yokaigaku

During the Meiji period (1868-1912), Japan modernized by adopting Western influences, including technology and attire, aiming to surpass the West. Inoue Enryō (1858-1919) advocated for eliminating traditional elements like yōkai to facilitate this transformation.

Inoue Enryō's work during the Meiji period led to yōkai losing their frightening connotations and transitioning from horror icons to children's icons.

 Born in 1858 into a family of Buddhist priests, Inoue pursued philosophy and science studies at Tokyo University, aiming to improve Japan by dispelling superstitions like yōkai. In 1893, he founded Yōkaiology to provide rational explanations for supernatural beliefs.

In his study, Inoue redefines yōkai as synonymous with "mysteriousness" (fushigi), challenging the popular belief in their supernatural existence. He categorizes supernatural phenomena into "material" and "mental" and uses psychology and science to debunk yōkai's existence. 

In works like Yōkai Hyakudan, Inoue tells yōkai stories followed by scientific explanations disproving their existence, aiming to dispel fear and enchantment. By making yōkai seem natural or comical, he weakens their hold on Japanese society.

A New Era

With the advent of electricity and modernization in Tokyo in 1887, yōkai lost their relevance and were relegated to mere shadows of the past. The development of Japan's first train in 1906 marked the transition to cultivated lands where yōkai had no place. People began exploiting yōkai for personal gain beyond the horror genre.

With the decline of yōkai's reputation as terrifying monsters due to technology and modernization, they became tools for artists and the government to convey political messages and propaganda. Akutagawa Ryūnosuke's 1927 classic, "Kappa," exemplifies this shift, showcasing how yōkai have moved away from their original horror role.

In Akutagawa Ryūnosuke's "Kappa," the protagonist, Asylum Patient #23, recounts his adventures in Kappaland to his doctor, mirroring Japanese society and addressing political issues of the 1920s. Written in response to government censorship, the story reflects the struggle for literary freedom, with characters like Tok, an anarchist kappa, advocating for free speech. 

The kappa, once feared monsters, are depicted as civilized members of society, showcasing their departure from the horror genre. This shift illustrates how yōkai were repurposed for individual agendas, including propaganda during World War II.