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Commentary on the historical materials exhibited at the Miyakonojo Shimazu Heritage Museum special exhibition in 2025

記事ID：79854 更新日：2025年10月10日更新 印刷ページを表示する 大きな文字で印刷ページ表示

Commentary on the exhibited historical materials

Please select the historical document for which you would like to read an explanation from the list below.

1 Strange and supernatural phenomena in Japan

2 The connection between humans and the supernatural: its influence on politics and culture

3 Strange Tales from Southern Kyushu

4 The Acceptance of Mysterious Events in the Shimazu Domain and Their Impact on Culture and Government

Commentary on historical documents

1 Strange and supernatural phenomena in Japan

​Tsukumogami (Object Spirits）

Tsukumogami are spirits that reside in household objects after they have been around for many years.

In Japan, the belief that spirits inhabit all things, including animals and inorganic objects, has been rooted since ancient times, and the existence of tsukumogami is also seen as a reflection of this animistic(*) thought.

According to the Tsukumogami Emaki, a picture scroll created during the Muromachi period (1336-1573), spirits of objects gain mystical powers after 100 years. The scroll tells the story of household objects discarded in less than 100 years that harbor revengeful thoughts against humans and eventually turn into oni (ogres). However, they are defeated by Goho Doji (Young Dharma-defender), surrender, and ultimately attain Buddhahood through Buddhist ascetic practices. It has been noted that their transformation into oni is closely linked to the fact that, in earlier times, oni served as “a general term for evil spirits.”

(*) Animism: The belief or idea that souls and spirits inhabit all kinds of things in the natural world.

 

 

​[Reproduction of the original made by Mizuki Shigeru] 29.7 cm L, 42.0 cm W [on display during the exhibition]

This work is a reproduction of Shigeru Mizuki's yokai (Japanese folklore monsters) painting, created by the museum specifically for this exhibition. His original yokai painting is created with watercolors.

Mizuki Shigeru

Born on March 8, 1922. Mizuki spent his childhood in Sakaiminato City, Tottori Prefecture. Influenced by Kageyama Fusa, called “Nonnon Baa,” who helped with his family’s housework, he became interested in the world of yokai. In 1943, he went to the front in Rabaul, where he lost his left arm in a bombing, and he returned home in March 1946. After World War Ii, Mizuki began his career as a kamishibai (picture-story show) artist and made his manga debut in 1958. His most well-known works include Ge Ge Ge no Kitaro, Akuma-kun (Demon Boy), and Ketteiban Nihon Yokai Taizen (Definitive Edition Compendium of Japanese Yokai). He died on November 30, 2015.

2 The connection between humans and the supernatural: its influence on politics and culture

​Kanmon Nikki (Diary of Things Seen and Heard), from July to August of 1443

  • 6.2 cm L, 18.3 cm W, Edo period, National Archives of Japan [on display until November 3]

This diary was written by Gosukoin (1372-1456) during the early Muromachi period. It consists of accounts from January 1, 1416, to April 7, 1448 (with some sections missing), covering a wide range of topics such as politics, economics, and culture, and serving as valuable material for historical research on that period. The exhibit shown here is the section dated August 13, 1443, titled “Shogunal Deputy’s Horse in the Stable Speaks,” which describes an event where a horse kept in the stable spoke human language. The phenomenon of horses talking was often recorded in sources besides Kanmon Nikki. In many cases, such supernatural events appeared as warning signs before upcoming misfortunes like disasters or epidemics, suggesting a link between social events of that period and supernatural phenomena.

 Shoku Nihongi (The Chronicles of Japan Continued), Vol. 34

  • 30.9 cm L, 22.5 cm W, 1614 in the early Edo period, National Archives of Japan [on display from November 5]​

Shoku Nihongi (The Chronicles of Japan Continued) is a history book compiled by imperial command, following Nihon Shoki (The Chronicles of Japan). Consisting of 40 volumes, it chronologically describes the period from 697, when Emperor Monmu ascended the throne, to December 791, during Emperor Kanmu’s reign, and was completed in 797. Tradition holds that the first 20 volumes were compiled by Sugano no Mamichi (741-814), among others, and the second 20 volumes by Fujiwara no Tsugutada. The book is highly valued as a key historical source for the Nara period (710-794).

The displayed section shows the record for the Xinwei day of the third lunar month,777, and describes that the oharae (major purification ritual) was performed because yokai (Japanese folklore monsters) frequently appeared in the Imperial Court. This is the first written mention of the term yokai in Japanese historical sources, showing how people at that time took national measures to deal with supernatural phenomena.

​Retcho Seido (The Collection of Laws and Regulations), Vol. 39 Part 2

​

  •  25.2 cm L, 17.0 cm W, Later Edo period, Miyakonojo Shimazu Residence [on display during the exhibition]​

Retcho Seido is a compilation of regulations, laws, and statistical materials from the Kagoshima Domain, covering a broad range of fields including politics, economics, geography, history, astronomical phenomena, religions, and rituals. Although the original copy was lost at the end of the Edo period (1603-1868), manuscript copies are still held in collections at the Miyakonojo Shimazu family, the Historiographical Institute at the University of Tokyo, Kagoshima University Library Tamazato Collection, and Kagoshima Prefectural Library.

The section on display relates to onmyo (yin and yang) and fushuku (Shinto priests). It is a proclamation issued in 1791 by the Edo Shogunate that states: “Those who engage in the profession of Onmyodo (the Way of Yin and Yang) should be governed by the Tsuchimikado family; however, this regulation has been disrupted in recent years. It has also been reported that some individuals practice Onmyodo without permission. From now on, anyone engaged in the profession must obtain a license from the Tsuchimikado family and perform their duties without violating the rules of Onmyodo.” The Tsuchimikado family was a noble family serving the Imperial Court, responsible for Onmyodo, astronomical phenomena, and calendars. Their ancestor was Abe no Seimei, an onmyoji (yin-yang diviner) during the middle of the Heian period (794-1185).

​Heike Monogatari (The Tale of the Heike), Vol. 3

  • 22.6 cm L, 18.5 cm W, Edo period, National Archives of Japan [on display during the exhibition]

Heike Monogatari (The Tale of the Heike) is a war chronicle completed during the early part of the Kamakura period (1185-1333), depicting the rise and fall of the Taira clan, including Taira no Kiyomori (1118-1181). Details about the author and the completion year are unclear. There are many alternative versions, and the various versions passed down today are divided into two categories: Todo-kei kataribon (books for recitation) and non-Todo-kei yomihon (books for reading). The former was established as the narrative text by the Todoza (an autonomous guild of mutual aid for the blind), which was formed by temple and shrine-based biwa hoshi (lute-playing priests). The historical material displayed here belongs to this category.

The exhibit features the section of the Yurushibumi (Letter of Forgiveness). In January 1178, Kenreimonin (Taira no Tokuko), the daughter of Taira no Kiyomori and Empress Consort of Emperor Takakura, became pregnant, and the clan members were delighted, looking forward to the birth of a prince. However, as the months went by, the Empress’s physical condition worsened, and eventually she could barely lift her head. In response to this situation, a divination was performed, revealing she was possessed by many vengeful and living spirits. Kiyomori immediately took action to soothe the spirits that had become vengeful. He conferred posthumously official posts and court ranks, granted pardons to the exiles on Kikaigashima Island, and called them back. During that time, the presence of vengeful spirits and living spirits was highly significant and sometimes triggered major social events. This historical document tells a story that reflects the idea of vengeful spirits from that era.

Illustration of Yasunai Exorcising the Yokai

  •  37.9 cm L, 75.0 cm W, Late Edo period, 19th century, National Museum of Japanese History[on display until November 3]

This piece is an ukiyo-e print based on the legend of Tamamo no Mae. It is believed that Tamamo no Mae’s true identity is a golden-haired nine-tailed fox who came to Japan after seducing kings in India and China and leading their countries to ruin. The Retired Emperor Toba, who heard of Tamamo no Mae’s reputation as a woman of great beauty, took her as a mistress; however, he gradually lost his mind. Worried about the Retired Emperor, his retainers asked onmyoji (yin-yang diviner) Abe no Yasunari to perform a divination. When Yasunari uncovered her true identity, Tamamo no Mae appeared as a fox and fled to Nasuno in Shimotsuke Province (the plains in the northeastern part of Tochigi Prefecture today). Later, the samurai Kazusa Hirotsune (?-1183) and Miura Yoshizumi (1127-1200) defeated her, but her soul turned into a stone and killed all living creatures that came near it. The legend of Tamamo no Mae was widely spread through the Noh song, Sesshoseki (Killing Stone), during the medieval period and became the subject of various creations, such as an otogi zoshi (illustrated short story), titled Tamamo no Zoshi, picture scrolls, and novels. The depiction on the print shown here is basically the same as the story of Tamamo no Mae from the Shimazu family’s historical documents; however, the events that occur after her identity is revealed are different.

This piece vividly depicts the scene where Tamamo no Mae, whose identity has been exposed by the onmyoji Abe no Yasunari, shows her true form and flees. The artist, Utagawa Shigenobu (1826-1869), was a disciple of Utagawa Hiroshige I (1797-1858). After Hiroshige I died in 1858, he took on the name Hiroshige Ii in the next year, 1859. Following the style of the first generation, he excelled at landscapes and bijinga (paintings of beautiful women).

 ​National Treasure Konjaku Monogatari-shu (Tales of Times Now Past) (Suzuka Ed.) Vol. 27

  •  32.4 cm L, 28.0 cm W, Late Heian to early Kamakura period, Kyoto University Library [on display from November 5]​

Konjaku Monogatari-shu (Tales of Times Now Past) is a collection of setsuwa (short stories passed down among people) from the latter part of the Heian period (794-1185). It is thought to have been completed in the early 12th century. Out of a total of 31 volumes, 28 remain extant. The anthologists are unknown, although there are several theories. In this collection, more than one thousand stories are divided into three parts of the world: India, China, and Japan. Each story is typically told following a basic structure, starting with “Once upon a time” and ending with “That’s how the story has been handed down.” The contents are mainly divided into stories depicting the world of Buddhist history and those illustrating the secular world, with Vol. 27 belonging to the latter category.

The displayed section describes a story in which Ariwara no Narihira’s woman was eaten by an oni (ogre). Ariwara no Narihira, who held the title Ukon no Chujo (Middle Captain of the Right Division of Inner Palace Guards), fell in love with a young woman renowned for her beauty, but he couldn’t do anything because her parents cared for her deeply and said they would find a distinguished and noble man for her to marry. One day, he somehow managed to steal the young woman and hide with her in the storehouse of an old, dilapidated mountain house near Kitayamashina (the current northern part of Yamashina Ward, Kyoto City). Then, lightning and thunder roared, so the Chujo hid her in the back of the storehouse and held his sword. After a while, the thunder stopped and dawn broke, but the young woman remained silent, so he wondered and turned around, only to see her head and kimono left. The Chujo, who flew back, later discovered that the storehouse was a “man-eating storehouse.” The lightning and thunder that night were entirely caused by the oni living inside the storehouse. This story ends with a lesson: “Never enter a place you don’t know well.”

 ​National Treasure “Tamamo no Mae” from the Shimazu family’s historical documents

  • 23.5 cm L, 32.6 cm W, Edo period, Historiographical Institute, the University of Tokyo[Vol. 1: on display until November 3, Vol. 2: on display from November 5]

This work is an example of Nara Ehon, an illustrated color manuscript copy produced from the end of the Nara period (710-794) to the early part of the Edo period (1603-1868). It is based on the legendary figure Tamamo no Mae, who is said to have been a favorite of the Retired Emperor Toba (1103-1156) around the end of the Heian period (794-1185). The story’s synopsis is as follows:

During the reign of Emperor Konoe, a kenyo (Buddha or Bodhisattva appearing in female form) appeared at the Court of Retired Emperor Toba, winning his favor. She was a very beautiful and intelligent woman, and she knew everything she was asked about. During a performance of kangen (pipes and strings) at the Court, she emitted light from her body, which is how she came to be called “Tamamo no Mae” (meaning “jewel maiden”). Then, after a while, the Retired Emperor fell ill, and the Director of the Bureau of Divination performed a fortune-telling, revealing that his illness was caused by Tamamo, the incarnation of an old fox from Nasuno, Shimotsuke Province. Thereupon, Tamamo was ordered to make an offering to the gods at the Taizanfukun Ceremony; however, she disappeared during the prayer offered to the gods. Ordered to defeat her, the samurai Kazusanosuke and Miuranosuke traveled to Nasuno to hunt her, where they found a twin-tailed fox but failed to catch it. The two samurai returned home briefly and set out again, but the fox managed to escape once more. One night, a young woman appeared in their dreams and offered to be their guardian deity, but they declined her offer. The next day, they finally managed to bring down the fox. A golden jar, a sword, and other treasures emerged from the fox’s body, which were then distributed to each samurai or stored in a treasure house. Legend says that fox hunting at that time was the origin of the later inu-oumono (dog-chasing competition).

Uji Shui Monogatari (A Collection of Tales from Uji)

  • Early Edo period: Miyakonojo Shimazu Residence [Vols. 1, 3, and 4: on display until November 3, Vols. 11, 12, and 14: on display from November 5]

Uji Shui Monogatari is a collection of setsuwa (short stories passed down among people) completed early in the Kamakura period (1185-1333) and consists of 15 volumes. The editor is unknown. The collection includes 197 folktales related to nobles, Buddhism, and the general public. The same text and similar narratives are found in Konjaku Monogatari-shu (Tales of Times Now Past), Kojidan (Talks About Ancient Matters), and other works.

Vol. 1
  • 22.5 cm L, 15.9 cm W

Tale 17 “An Ascetic Encounters Hyakki Yagyo (Night Parade of One Hundred Ogres)”　

Once upon a time, a certain ascetic visited Settsu Province (which today covers most of the north-central part of Osaka Prefecture and the southeastern part of Hyogo Prefecture). Since the sun set, he had no choice but to spend the night at an old, uninhabited temple called Ryusenji. While reciting the incantation of Fudo Myoo (the God of Fire) inside the hall, he heard many voices and saw eerie-looking beings enter. Each of them took their own seat, but one didn’t have a spot because the ascetic was already sitting there. The ascetic was forced to move under the eaves of the hall by the one who couldn’t sit down. Shortly afterward, they left, and as morning broke, the ascetic looked around and saw that there was no temple, and the path he had walked along had vanished. While he was confused, he happened to come across people on horseback with many attendants. The ascetic asked, “Where am I now?” He was told that he was in Hizen Province (present-day Saga Prefecture and Nagasaki Prefecture). He followed the group to the place where the path was, asked for directions to Kyoto, and traveled there by ship. After arriving in Kyoto, the ascetic shared the occurrence with his fellows.

Vol. 3
  • 22.6 cm L, 16.1 cm W

Tale 20 “The Fox Sets a House on Fire”

Once upon a time, there was a samurai who served at the official residences for the provincial governor and district governors in Kai Province (present-day Yamanashi Prefecture). One evening, as he was leaving the mansion and heading home, he came across a fox. He chased after it and shot an arrow at it. The arrow struck the fox in the waist, and it ran into the grass, crying out in pain. The samurai chased the fox again and tried to shoot another arrow, but he lost sight of it. When he got near his house, he saw the fox from earlier running with fire in its mouth. He followed the fox, which then transformed into a human and set his house on fire. The samurai attempted to shoot an arrow while riding his horse, but the fox transformed back into its original form, slipped in the grass, and vanished. Even an animal like a fox will take revenge quickly, so you should never underestimate it.

Vol. 4
  • 22.7 cm L, 16.0 cm W

Tale 1 “The Fox Possesses a Human and Devours Rice Cakes”

Once upon a time, a man was haunted by a specter. The specter’s spirit was instructed to temporarily possess a woman. Then the specter said, “I am not a specter that brings a curse. I am a fox that just happened to pass by in its wanderings. At home, I have children and other family members who want something to eat, so I thought there might be food scattered around this area and came over. I’ll eat shitogi rice cakes and go back home.” Then, a tray full of shitogi was prepared, and she ate it, saying, “Hmm! Delicious!” People didn’t like the woman, thinking she was pretending to be possessed by a specter because she wanted to eat shitogi. Before long, the woman said, “Please give me a piece of paper. I’ll wrap rice cakes to take home and share with the elderly and children.” People wrapped the food and handed it to her. The woman told the ascetic monk, “Follow me, let’s go home,” then stood up but fell flat on her face. Shortly, she got up, but the wrapped shitogi she had tucked inside the breast of the kimono was missing. Strangely, it was gone.

Vol. 11
  • 22.7 cm L, 15.9 cm W

Tale 3 “Seimei Kills a Frog”

At one time, when Abe no Seimei visited the mansion of Hirosawa no Sojo, the son of Emperor Uda’s son, Prince Atsumi, young monks asked Seimei, “We heard you use Shikigami(*) and can you kill someone in an instant?” Seimei replied, “It’s not easy to kill a person, but I can if I use my power.” He continued, “I can definitely kill an insect and similar things with just a little effort. But I don’t know how to bring it back to life, which means I would commit a sin, and such an act is pointless.” During his speech, about five or six frogs showed up in the garden and hopped toward the pond. One of the young monks said, “If what you are saying is true, kill one of them. Please demonstrate it as a trial.” Seimei answered, “You are cruel monks, but you are trying to test me, so I’ll kill it.” He then pinched a blade of grass and threw it at a frog while chanting something. As soon as the blade touched the frog, it was crushed flat and died. The monks who witnessed this turned pale and were scared. Seimei seemed to use Shikigami when no one was in his house, and it is said that the lattice door moved up and down by itself, and the gate was closed with no one nearby.

　　(*) Shikigami: Demon deities used by onmyoji (yin-yang diviner) in Onmyodo (the Way of Yin and Yang).

Vol. 12
  • 22.7 cm L, 16.0 cm W

Tale 24 “An Oni at Sajikiya in Ichijo”

Once upon a time, a man was staying overnight in a sajikiya (inn) in Ichijo and sleeping with a courtesan. In the middle of the night, terrible winds blew, and it started to rain. In the midst, someone was passing by the main street chanting, “impermanence of all things.” Wondering who it was, the man slightly opened the door to see and realized it was an oni (ogre) with a horse head, about the height of the eaves. He was so terrified that he closed the door and moved to the back of the room when the oni opened the door and stuck its face in, saying, “How dare you see me? How dare you see me?” So, the man drew his sword and stood ready, uttering, “If you come in, I’ll kill you.” He had the courtesan nearby as he waited. Then, the oni said, “Now, have a good look,” and walked away. The man thought, “That is what hyakki yagyo (night parade of one hundred ogres) is like,” and felt scared. It is said that he never stayed at the sajikiya in Ichijo again after that.

Vol. 14

  • 22.6 cm L, 15.9 cm W

Tale 10 “Mido Kanpaku’s Dog, Seimei, and Others Are Laudable”

Once upon a time, when Fujiwara no Michinaga, known as Mido Kanpaku (meaning the Regent of the Temple), built the Hojoji Temple, he began visiting that temple every day. Since he loved his white dog, the dog always accompanied him. One day, the dog went with him as usual, but when his carriage was about to enter the gate, the dog blocked his way and prevented him from going in. Saying, “What’s wrong?” he stepped out of the carriage and tried to pass through, but the dog caught the hem of his robe in its teeth to hold him back. The Regent thought there was a reason for that and sent a messenger to Abe no Seimei, ordering him to come immediately. He asked Seimei, who arrived right away, about the reason. Seimei performed his divination ritual for a while and replied, “A cursed object is buried in the path. If you walk over it, something ominous will happen. Dogs are creatures with supernatural powers, so your dog told you that.” The Regent said to him, “Well, where is the cursed object buried? Find it out by divination.” Seimei performed another ritual for a while and replied, “It’s here.” Digging about 1.5 meters into the soil at the spot, they found the object in question. Two pieces of kawarake (unglazed earthenware) were joined together and tied crosswise with yellow koyori (twisted paper string). When untied and opened, there was nothing inside except the character “one” written in vermilion on the bottom of each piece. Seimei said, “No one knows this magic except Seimei. By any chance, it might have been done by Doma Hoshi (onmyoji Ashiya Doman, a former disciple of Abe no Seimei). I’ll ask him to explain.” He then took out a piece of paper from his kimono’s chest pocket, folded it into a bird shape, cast a spell on it, and threw it into the air, where the paper instantly turned into a white heron and flew south. Seimei ordered the messenger to run and see where this bird settles.” The bird landed on an old house near Rokujo Bomon Madenokoji Street and entered. The messenger immediately arrested the old monk of the house owner and returned. When the monk was questioned about the reason for the curse, he confessed, “I did it due to the request of Lord Akimitsu, the Minister of the Left.” “In this situation, Doma should be banished to a remote place, but it is not his fault,” said Michinaga. He also admonished the old monk, “You must not do such a thing again,” and exiled him to his home province, Harima (present-day southwestern part of Hyogo Prefecture).

After Lord Akimitsu died, he turned into a vengeful spirit and cursed Mido Kanpaku. He appeared to be called “The Evil Spirit Left Minister.” It is said that Mido Kanpaku loved his dog even more.

Hyakki Yagyo Emaki (Picture Scroll of the Night Parade of One Hundred Ogres) (Copy)

  • 28.1 cm L, 1806 in the Edo period, Tokyo National Museum [on display until November 3]

This work is a copy of Hyakki Yagyo Emaki (Picture Scroll of the Night Parade of One Hundred Ogres), which is said to have been produced by Kano Tan’yu (1602-1674) in the 17th century, but it is unknown who created the copy. The work humorously portrays yokai transformed from old household objects, such as a pot, kettle, koto (Japanese harp), and biwa (Japanese lute).

Allegedly, picture scrolls like this one, which sequentially depict household objects that have gained their own wills after many years—known as tsukumogami—appeared during and after the Muromachi period (16th century). In particular, the Hyakki Yagyo Emaki from the collection of the Shinjuan sub-temple of Daitoku-ji in Kyoto is the oldest surviving work and plays an important role in the study of various books passed down in Japan and abroad.

According to Mr. Komatsu Kazuhiko, the Hyakki Yagyo Emaki are divided into four versions, each housed in the collections of Shinjuan, Kyoto City University of Arts, the International Research Center for Japanese Studies, and the Hyogo Prefectural Museum of History. These versions vary in the yokai depicted and their compositions, among other elements. The historical materials shown here feature the same yokai as in the Shinjuan version, but their order of appearance differs.

​Naki Fudo Engi (Legends of Weeping Fudo)

  • 31.7 cm L, Muromachi period, 15th Century, Nara National Museum [on display from November 5]

This picture scroll depicts the blessings of Fudo Myoo (the Fire of God).

The priest Chiko of Miidera Temple (Onjoji Temple in Shiga) fell ill, and his disciple Shoku took on the illness in his place. Shoku offered daily rites to an icon painting of Fudo Myoo, and he was saved because the deity accepted the illness. Fudo Myoo was taken to hell-by-hell wardens but was released from it after meeting King Enma. The picture shown here depicts Abe no Seimei, who is divining the outcome of Chiko’s illness at Shoku’s request. He is offering a prayer accompanied by Zenki and Goki, a pair of Shikigami (demon deities). In front of him, several plague deities sit, facing him.

Bakemono Zukan (Picture Scroll of Monsters)

  • 29.1 cm L, Edo period, 17th Century, Kyushu National Museum [on display from November 5]

This picture scroll was created by Kano Munenobu (year of birth and death unknown), a painter of the Kano school, active during the early part of the Edo period (1603-1868).

Legend has it that Munenobu was a disciple of Kano Yasunobu (1614-1685), who founded the Nakabashi Kano family during the Kan’ei era (1624-1644). This piece sequentially depicts a wide variety of yokai, including foxes and badgers that can turn into humans, an onyudo (huge monster), bakeneko (goblin cat), kappa (water goblin), yuki onna (snow woman), and tsuchigumo (giant earth spider), without accompanying notes for each scene. Expressions in the pictorial book style, like this piece, are often seen in work examples from the Edo period. The reason behind this trend is thought to be the mindset of people at the time, who viewed supernatural phenomena and yokai as entertainment rather than frightening subjects.

​Geishu Budayu Monogatari Emaki (Picture Scroll of the Tale of Budayu in Aki Province)

  • 25.7 cm L, Later Edo period, Tachibana Museum [on display during the exhibition]

The exhibits are three-volume picture scrolls passed down to the Tachibana family, the lords of the Yanagawa Domain.

The work is based on the experience of Ino Budayu (1734-1803), who lived in Miyoshi, Bingo Province (present-day Miyoshi City, Hiroshima Prefecture) during the Edo period (1603-1868). In July 1749, when Budayu went by his childhood name Heitaro, he encountered various supernatural phenomena for 30 days starting on July 1 according to the lunar calendar. Each scroll vividly portrays these phenomena with realistic and skilful brushwork. From the Edo period onward, this tale of yokai (Japanese folklore monsters) became widely known throughout the country under the collective title, Ino Mononoke Roku (The Record of Specters of Ino). In the final part of the work, the Demon King appears, but he is depicted as a samurai wearing kamishimo (samurai’s formal attire) and holding back Heitaro, who is trying to attack him. As seen in this example, the human touch in the depiction slightly diverges from the usual image of supernatural phenomena, making the piece more interesting.

​Shoki the Demon Queller, painted by Miwa Chosei

  • 82.5 cm L, 41.8 cm W, Showa period, Private collection kept at the Miyakonojo Shimazu Residence [on display during the exhibition]

This hanging scroll, handed down through the Miyakonojo Shimazu family, portrays the Taoist deity Shoki (Chinese: Zhong Kui), who originates from Chinese folklore, and is believed to ward off plague deities and banish demons. In Japan, Shoki has been worshipped since the end of the Heian period (794-1185).

According to legend, when Emperor Xuan Zong (685-762) of the Tang Dynasty was bedridden with illness, he dreamed of a man who was defeating evil spirits. When the Emperor asked about his identity, he answered: “I am Zhong Kui from Zhongnan County. I took the civil service exam to become a government official, but I failed. Feeling so ashamed, I took my own life. However, the Founder (First Emperor) of the Tang Dynasty generously held a funeral for me, so I came to repay his kindness.” Upon waking up, the emperor was fully healed, and since then, Shoki has been worshipped as the deity of protection against epidemics and academic achievement.

Miwa Chosei (1901-1983)

​Japanese-style painter from Niigata Prefecture. After graduating from the Department of Painting at the Kyoto City School of Arts and Crafts in 1921, Miwa was admitted to the Kyoto City Specialist School of Painting and studied under Domoto Insho (1891-1975). After graduating in 1924, he adopted the name Chosei and was selected for the Imperial Art Academy Exhibition (Teiten) for the first time in 1927 with his work, “Higashiyama.” He subsequently received numerous awards. In 1960, Miwa became a councilor at the Japan Fine Arts Exhibition (Nitten). In 1969, he was appointed as a director of Nitten, then became a senior councilor in 1977 and an adviser in 1980. His works are characterized by vibrant colors and decorative composition.

Cultural Property Designated by Miyazaki Prefecture Enkan (Profound Mirror)

  •  Category 10, Vol. 12, 24.5 cm L, 15.7 cm W, Mid-Edo period, Miyakonojo Shimazu Residence [on display during the exhibition]

This historical material is a copy of “Enkan Ruikan (Chinese: Yuanjian Leihan), an encyclopedia produced during the Qing period in China. It was compiled by order of the fourth emperor, Kangxi (reign: 1661-1722), of the Qing Dynasty. Completed in 1710, the encyclopedia comprises 45 categories covering topics from Heaven to Worms and Insects, which are further divided into 450 volumes. It is said that the compilation work was carried out under the leadership of Zhang Ying, the Grand Secretary of the Grand Secretariat, poet Wang Shizhen, and others, with more than 130 staff members assigned. The section shown here explains yin and yang, which are part of the Seasons, one of the 45 categories. The Seasons also include topics, such as laws and regulations, the calendar, the Five Elements (Wood, Fire, Earth, Metal, and Water), yearly events, and almanacs.

​3 Strange Tales from Southern Kyushu

 ​National Treasure Shimazu family’s historical document, Shizu no Odamaki

  • Edo period, Historiographical Institute, the University of Tokyo [Vols. 7 and 10: on display until November 3, Vols. 4 and 9: on display from November 5]

Shizu no Odamaki is a collection of setsuwa (short stories passed down among people) compiled by Shirao Kunihashira (1762-1821), a scholar of Japanese classics, under the order of the lord of the Kagoshima Domain. It is made up of 12 volumes in total. The preface describes the compilation process, stating that in 1804, at the Kagoshima Domain’s residence in Edo, Shirao was instructed to gather oral traditions, ranging from well-known stories to those told in the past, and assemble them for temporary entertainment. He then collected a variety of stories that had been widely shared, including rare ghost stories, and presented them with illustrations to the domain. However, the book created at that time was lost when the fire broke out on March 4, 1806. In December 1811, another order was issued to copy the draft of the original and present it to the domain. Today, neither the original nor the copied version exists. Presumably, the Shimazu family manuscript was created after the start of the Meiji era (1868-1912).

Vol. 4
  • 27.0 cm L, 19.7 cm W

Tale 3 “Takeuchi Sukeichi Cuts Tengu’s Wing”

This is a story about Takeuchi Sukeichi, a cook serving during the reign of Shimazu Mitsuhisa (1616-1694), the 19th head of the main family. He cut off a wing of a tengu (long-nosed goblin) with his sword when he encountered it at Tateno Satokoji (near present-day Shimotatsuo Town, Kagoshima City).

Sukeichi served every evening until around 2:00 to 2:30 am to nurse someone related to the Shimazu family. One night, when he got through the woods of Tateno Satokoji, something brushed the top of his head, accompanied by the sound of a bird flapping its wings. He swung his sword at it and felt the blade hit something, discovering a large cut-off wing nearby. The night after Sukeichi brought back the wing, he heard a voice calling his name from the darkness, so he went outside with a short sword in hand and then got into a grapple with someone. In the end, it was unclear who it was, and the conclusion was that, probably, an old black kite had transformed into a tengu.

Vol. 7
  • 27.1 cm L, 19.5 cm W

Tale 5 “The Giant Serpent in the So District”

This is a story in which a giant serpent was defeated by Tsumagari Genbei, a country samurai from Soo District in Osumi Province (covering the entire district from present-day Kirishima Taguchi, Kirishima City, to the area around Kokubu Shigehisa).

On April 12, 1799, Genbei went to the horse farm of the Kagoshima Domain on Mt. Haruno to hunt wild boars, where he encountered a giant serpent. He shot the serpent in the throat with his gun and fled to a village. There, he bumped into an acquaintance who told him the legend that killing a giant serpent would bring a curse and advised him never to tell anyone about the incident. Later, when this acquaintance visited the incident site, he saw the dead giant serpent but remained silent, as was the custom. At the horse farm on Mt. Haruno, young horses used to go missing often, but this seemed to stop after the giant serpent was defeated. Genbei’s action led to the protection of the domain’s valuable horses; however, as a result, his achievement was not widely recognized by the public.

Vol. 9

  • 27.0 cm L, 19.5 cm W

Tale 6 “Renkyoin Is Bewitched by the Old Fox in Broad Daylight”

This is a story in which Onitsuka Renkyoin, a yamabushi (mountain ascetic) from Shiikawauchi, Shonai Yamada, Morokata District, Hyuga Province (present-day Yamada Town, Miyakonojo City, Miyazaki Prefecture) was retaliated against by an old fox for playing a trick on it.

When Renkyoin was heading to the town of Miyakonojo for business, he saw an old fox sleeping by the roadside and startled it by blowing a conch shell close to its ear. On his way home that day, although it was still early for sunset, the sun suddenly set, and the surroundings were shrouded in darkness, so he decided to rest at a roadside temple that appeared along the way. While he was resting, five or six men with flaming torches started digging a grave in the garden in front of the hall, buried a coffin, and then left. After they departed, a female ghost rose from the grave and chased him. So Renkyoin ran up to the hall’s ridgepole and blew the conch shell; just then, the woman disappeared, the darkness lifted, and the scenery returned to how it was before dusk. Renkyoin was questioned by a farmer who had seen the series of events nearby, and later, he confessed how they had happened.

Vol. 10
  • 27.2 cm L, 19.6 cm W

Tale 4 “Giant Spider”

This is a story about a gigantic yatsudegumo (eight-legged spider), also known as ashidakagumo (giant crab spider), that settled in Fukushoji Temple, the ancestral temple of the Shimazu family.

Legend says that at Fukushoji Temple, when the roof of the kuri (a temple building where meals are prepared) was being re-thatched, a giant spider never seen before appeared, holding a half-eaten mouse in its mouth. The giant spider that preys on animals has been seen in places besides Fukushoji Temple, causing an eerie feeling among people.

Stories about the giant spider, like the one above, can be found in several Chinese essay collections, such as Youyang Zazu (Miscellaneous Morsels from Youyang) from the Tang period and Wu Za Zu (Five Assorted Offerings) from the Ming period, with some describing it as a dangerous creature that kills people.

 Cultural Property Designated by Miyazaki Prefecture Shizu no Odamaki (賎濃於多満喜),

  • 26.6 cm L, 19.2 cm W, Late Edo period, Miyakonojo Shimazu Residence
  • Vols. 4, 7, 9, and 10 [Vols. 4 and 9: on display until November 3, Vols. 7 and 10: on display from November 5]

Shizu no Odamaki (賎濃於多満喜) (hereinafter, the Miyakonojo Shimazu Family Version) is a collection of setsuwa (short narratives) that has been handed down through the Miyakonojo Shimazu family. It is considered to be a manuscript copy of Shizu no Odamaki (倭文麻環) (hereinafter, the Shimazu Family Version) from the Shimazu family’s historical documents. When comparing the Miyakonojo Shimazu Family Version and the Shimazu Family Version, the contents of the setsuwa in the collections are identical, but there are differences in the number of illustrations and scene descriptions.

​Large Armor, Braided with Alternating White and Purple Cords

  •  Later Edo period, Cuirass height: 31.0 cm, Private collection kept at the Miyakonojo Shimazu Residence [on display during the exhibition]

Legend has it that this suit of armor was worn by Shimazu Nariakira (1809-1858) during his coming-of-age ceremony, who was the lord of the Kagoshima Domain at the end of the Edo period. This armor set was crafted in a “revival style” that reproduces the large armor of the Heian period (794-1185), featuring a splendid structure with a cross in a circle, the Shimazu family crest, throughout. The front of the helmet is adorned with a fox, the messenger of Inari, worshipped as the family’s guardian deity.

The Shimazu family’s faith in Inari originates from the legend about the birth of their first head, Tadahisa. According to the story, his mother, Tango no Tsubone (whose real name was Takashina Eiko), gave birth to him on a rainy night at Sumiyoshi Taisha Shrine in Settsu Province (present-day Sumiyoshi Ward, Osaka City), illuminated by fox fire. It is also traditionally said that foxes sided with the Shimazu army during the Bunroku and Keicho Wars, indicating a deep connection between the family and Inari. Therefore, faith in Inari was deeply rooted throughout the Shimazu territory.

​Oishi Hyoroku Yume Monogatari Emaki (Picture Scroll of the Dream Tale of Oishi Hyoroku)​

This historical material is a picture scroll based on the literary work Oishi Hyoroku Yume Monogatari (The Dream Tale of Oishi Hyoroku), which is said to have been written in 1784 by Mori Masanao (1761-1803), a retainer of the Kagoshima Domain during the middle of the Edo period (1603-1868). Without any notes, the story is told solely through paintings.

This tale begins when Oishi Hyoroku, a young man from Kagoshima, and his friends hear about specters (foxes) that deceive people. Hyoroku openly states that he will defeat the specters and sets out; however, he has a terrible experience being bewitched by the foxes confronting him. Although Hyoroku faces suffering and failure again and again, he eventually kills two old foxes and goes back home.

Murase Gitoku (1877-1938), the creator of the picture scroll, was a painter from Aichi Prefecture who studied painting under Kuroda Seiki (1866-1924), known as the father of modern Western-style painting in Japan. Mori Masanao’s Oishi Hyoroku Yume Monogatari was highly praised, and many manuscript copies and printed editions gained popularity. Murase, too, published Satsuma/Kisho (Unusual Book of Satsuma) Oishi Hyoroku Yume Monogatari in December 1929, for which he himself added headnotes and created illustrations.

​Cultural Property Designated by Miyazaki Prefecture Suwa Saburo Monogatari Emaki (Picture Scroll of the Tale of Suwa Saburo)

  • Early Edo period, 27.3 cm L, Miyakonojo Shimazu Residence [on display during the exhibition]

Shown here is a picture scroll that illustrates the story of the origin of Suwa Shrine. It illustrates the journey of Suwa Saburo (Koga Saburo), with notes interwoven, showing his travels through the depths of the earth and the various events he encounters before returning alive and becoming the deity Suwa Daimyojin. Along with this historical material, there is also a surviving picture scroll on the same theme that has been passed down to Suwa Shrine in Nonomitani Town.

The origin of this historical material is recorded in Volume 76 of Shonai Chirishi (Geographical Descriptions of Shonai). According to the record, in 1606, a person named Chokeian Soden became the benefactor, and it was created with wishes for good health and longevity, prosperity of human laws, the fulfillment of aspirations, and the pursuit of teachings and practices that all people will gladly accept. The text and illustrations were produced by a yamabushi (mountain ascetic) named Raienbo Yusei, but the details are unknown. This historical material is also artistically excellent, as it depicts supernatural beings with delicate brushwork, such as the Demon King (Qilin King), believed to live in Mt. Kokake in Wakasa Province (present-day southwestern Fukui Prefecture), and Saburo, who transformed into a snake figure.

4 The Acceptance of Mysterious Events in the Shimazu Domain and Their Impact on Culture and Government

​Azuma Kagami (The Mirror of the East), Vol. 26​

  • Late Edo period-Meiji era, 27.4 cm L, 20.8 cm W, National Archives of Japan [on display during the exhibition]​

Azuma Kagami (The Mirror of the East) is a history book completed in the Kamakura period (1185-1333). It is thought to have been compiled by the Kamakura Shogunate from the end of the 13th century to the beginning of the 14th century. The number of volumes is unknown. The original text of the popular edition from the Edo period (1603-1868) onward is the Hojo Edition, which is housed in the Cabinet Library at the National Archives of Japan.

The section shown here documents religious ceremonies held on March 8, 1222, and October 16, 1224, where Shimazu Tadahisa (?-1227), the first head of the Shimazu family, was present. Tadahisa often handled various responsibilities related to Onmyodo (the Way of Yin and Yang), and previous studies indicate that his duty was to keep Kyoto clean.

​Shoku Nihongi (The Chronicles of Japan Continued), Vol. 1

  • 1614 in the Edo period, 30.9 cm L, 22.3 cm W, National Archives of Japan [on display until November 3]

The section shown here is part of the account dated May 24, 699, documenting that En no Ozuno (year of birth and death unknown), the founder of mountaineering asceticism, was exiled to Shodoshima Island (in Shozu County, Kagawa Prefecture today).

En no Ozuno was a sorcerer believed to have lived in Mt. Katsuragi in Yamato Province (a mountain on the border between Gose City, Nara Prefecture, and Chihaya-Akasaka Village, Osaka Prefecture) around the end of the 7th century. There is a legend that he mastered mountain ascetic practices and used oni (ogres).

According to the personal history of Odate Kenjun (?-1659) recorded in Volumes 7 and 18 of Shonai Chirishi (Geographical Descriptions of Shonai), historical documents passed down through the Miyakonojo Shimazu family, he became a yamabushi (mountain ascetic) inheriting the teachings of En no Ozuno. Odate Kenjun served the 12th family head, Hongo Tadayoshi (1590-1631), and lived in Torizoe, Miyakonojo (present-day Miyakojima Town, Miyakonojo City).

​Cultural Property Designated by Miyazaki Prefecture Shonai Chirishi (Geographical Descriptions of Shonai)

  • Late Edo period, Miyakonojo Shimazu Residence [Vols. 5 and 18: on display during the exhibition, Vols. 61 and 67: on display until November 3]

Shonai Chirishi (Geographical Descriptions of Shonai) was compiled from 1798 to 1830, consisting of 113 volumes—112 main volumes and one gleaning volume. Today, 103 of these volumes still exist. Under the order of Shimazu Hisatomo (1759-1821), the 22nd family head, the compilation project was carried out, led by Hongo Sukekiyo (1762-1832), the chief retainer, and Arakawa Giho (1765-c.1835), a record-keeping officer. This serves as valuable historical material for learning about Miyakonojo’s history, including local history, natural features, scenic spots, and the origins of temples and shrines.

Vol. 5, Yubataguchi 2, Miyamaru Village, Kenki Miyakami

  • 25.0 cm L, 16.5 cm W

Volume 5 mentions Kenki Daimyojin Shrine founded by the 10th family head, Hongo Tokihisa (1530-1596). The enshrined deity is Tokihisa’s eldest son, Sukehisa, who was born in November 1551. His childhood name was Tsuruchiyo, and after celebrating his coming of age, he adopted the name Jiro and later Sukehisa. His residence was initially in the Nishinojo Bailey of Miyakonojo Castle, but later he moved to the Kaneishi Bailey of Yasunaga Castle. He was outstanding in military prowess and distinguished himself in battles against the Kimotsuki and Otomo clans. However, at one point, due to slander from a retainer, he and his father, Tokihisa, had a falling out. In August 1579, about 300 soldiers were sent to the Kaneishi Bailey, where he died on his own sword, and his body was buried at Chokoin Temple.

After his death, various supernatural phenomena occurred, including a ghost of a samurai in armor riding a white horse, a boy complaining about grudges, and a girl expressing sorrow. People believed that each was the ghost of the late Sukehisa and feared them. Feeling deep regret, Tokihisa built Wakamiya Hachiman Shrine in 1581 to enshrine the spirit of Sukehisa. In 1595, when the Hongo clan’s fief was changed to Gedoin (present-day Satsumasendai City, Kagoshima Prefecture), the shrine’s main hall was also relocated; however, it was moved back to its original location in 1600. After its name was changed to “Rei Hachiman” and later to “Kenki Myojin,” the shrine was renamed “Kenki Daimyojin” in 1682.

Vol. 18, Shimonagae, Honyu 3, Stables, Place for Goma Fire Prayer Ritual
  • 25.0 cm L, 16.5 cm W

This volume describes Odate Kenjun, a retainer of the Miyakonojo Shimazu family. Kenjun first became a disciple of the monk Yorimori of Shinbaruji Temple, then became a yamabushi (mountain ascetic), inheriting the teachings of En no Ozuno. Yorimori passed down Genji Monogatari (The Tale of Genji) to him, and afterward, Kenjun developed an interest in rikka-style flower arrangement and studied under Ikenobo Senko in Kyoto. He died on May 6, 1659, and was buried at Nanrinji Temple (Nanrinji Town, Kagoshima City, Kagoshima Prefecture). Volume 17 of Shonai Chirishi (Geographical Descriptions of Shonai) details mountaineering asceticism in Miyakonojo. The description states that early-modern Miyakonojo had six temples of the Tozan division (founded by Shobo, a priest of the Shingon sect, with Sanboin of Daigoji Temple in Kyoto as its head temple). One of these is Shinbaruji Temple, where Kenjun studied.

Vol. 61, Yasuhisa Village, Tsuruoka, Kudama, Hakusan

  • 25.0 cm L, 16.5 cm W

This volume documents an incident in which a certain Mr. Nomura encountered a female ghost near Shinoike Pond in Miyakonojo. According to the record, she was holding her baby and said, “If you hold this baby for a while, I can avoid suffering and distress.” Nomura agreed and had the baby in his arms, but unexpectedly, it felt like a heavy stone. After some time, the ghost came back. Since she was able to escape the suffering and distress, she offered to give him a gift as a token of her gratitude. Nomura then said he wanted to skillfully write characters like a calligrapher, and the ghost presented him with an inkstone. Since then, the Nomura family has produced exceptional calligraphers for generations. However, at one point, this inkstone was given to their lord, and afterward, the family did not have any skilled calligraphers in the following generations.

Vol. 67, Gojitcho Village, Jonai, Shofukuji Temple, Ryushoin Temple
  • 24.9 cm L, 16.4 cm W

This volume includes a pictorial map of the Saimyoji Temple Mausoleum and descriptions of each gravestone.

Saimyoji Temple was a branch temple of Nigonji Temple and one of the ancestral temples of the Miyakonojo Shimazu family. Looking at the pictorial map, among the gravestones of successive lords, their wives, and ancestors, a grave with the inscription, “Grave of Shugaku Myoshu Daishi,” can be seen; however, the owner of this grave is not connected to the Miyakonojo Shimazu family. According to the record, people call it “Grave of Tenarai (Learning and Practice),” and the memorial tablet is in Daikeiji Temple. Legend says that after an absurd death, this person turned into a yokai (Japanese folklore monster) and frightened people in the territory.

​Cultural Property Designated by Miyazaki Prefecture ​Sangoku Meisho Zue (Illustrated Famous Places of the Three Provinces), 20

  • Meiji era, 26.5 cm L, 19.0 cm W, Miyakonojo Shimazu Residence [on display during the exhibition]

Section describing Shiwachi Castle, which served as a base in the northern part of the Miyakonojo Basin

Located in Tsuru Village, Shiwachi Castle was also known as Tsurumaru Castle. It consisted of five baileys: “Honmaru (Uchinojo),” “Ninomaru (Nakanojo),” “Nishikoshirae,” “Shinjo,” and “Kojo.” The Hongo clan had ruled the castle for generations, but when the Kitahara clan took over Shiwachi Castle during the Tenbun era (1532-1555), a man named Shirasaka Shimousa no Kami was appointed as the jito (estate steward). By around 1543, the territorial disputes between the Hongo clan and the Kitahara clan grew more intense. In May of that year, the Hongo army, led by Hongo Tadasuke and Tadachika, captured Shiwachi Castle. Tradition says that over 500 soldiers of the Kitahara army, including Shirasaka Shimousa no Kami, were killed in this battle. The Hongo clan recaptured Shiwachi Castle; however, after the death of Shirasaka Shimousa no Kami, supernatural phenomena frequently occurred, causing great fear among the residents of Tsuru Village. To ward off curses, the residents built a shrine to deify Shirasaka Shimousa no Kami and named it Arahito Daimyojin.

Section describing the Fudo-do Hall, one of the four directional gates of Mt. Kirishima

According to the records of Kirishimasan Kongoin Myokanji Temple, Mt. Kirishima had gates on all four sides, with the Fudo-do Hall located to the south. Kujun (1663-1738) was involved in building the Fudo-do Hall. He was a mountain ascetic in Kirishima, believed by Shimazu Yoshihiro (1535-1619). Kujun, in his journal, noted that he worked on the construction at the request of the feudal lord of Miyakonojo at that time. Additionally, the Shimazu head family ordered the entire province to procure lumber such as camphor and cedar, and the feudal lord made numerous donations. Because of this connection, Kujun was often asked to pray for natural disasters and unusual events that happened in Miyakonojo.

Cultural Property Designated by Miyazaki Prefecture Yasunaga Castle Map

  • Late Edo period, 28.5 cm L, 39.0 cm W, Miyakonojo Shimazu family [on display during the exhibition]

Tradition says that Yasunaga Castle was built by the seventh family head, Hongo Toshihisa. During the Sengoku (Warring States) period (1467-1573), it was regarded as one of the twelve branch castles of Shonai under the control of the Hongo clan. During the Shonai Rebellion in 1599, the castle served as a key strategic point for attack and defense but was abandoned after the Law of One Castle per Province was issued in 1615.

This historical material shows that Yasunaga Castle was made up of four kuruwa (baileys): “Honmaru,” “Ninomaru,” “Kaneishi,” and “Torizoe.” Most of the Kaneishi Bailey, where Sukehisa took his own life with a sword, has been destroyed by later land development and other factors.

Cultural Property Designated by Miyazaki Prefecture Diary

December 1641 in the Edo period, 26.5 cm L, 18.0 cm W, Miyakonojo Shimazu Residence [on display until November 3]

​Among the historical materials passed down through the Miyakonojo Shimazu family, there are 20 diaries written by officials of the Miyakonojo Shimazu family during the Edo period (1603-1868). The material shown here is one of them, titled “December 1641, Diary,” which documents events that occurred between November 1, 1641, and March 9, 1642. The recording department and the person who recorded them are unknown. The diary dated January 5, 1642, mentions that a supernatural phenomenon occurred in Yasunaga on December 29 of the previous year, which led to a divination ritual being performed. Additionally, since the character “筮” (uranai) appears in the description, the ritual was probably conducted using “筮竹” (zeichiku or divining sticks). Furthermore, the Miyakonojo Shimazu family’s historical materials include “I Ching,” which was formerly owned by their retainer, showing that it was studied as a cultural accomplishment for samurai and used to communicate divine will in emergencies.

The sixth day, on duty, clear weather

― preceding text omitted ―

On the night of December 29, around 8:00, a supernatural phenomenon occurred in Yasunaga. Accordingly, Tadamochi was instructed to perform a divination ritual. The results were then reported to her ladyship. Since the messenger, Toyomaru Yohei, attended a meeting, he was informed of the results. He replied, “It is just a matter of offering prayer, and I have no particular opinion.”
However, in his view, small shrines and temples dedicated to deities, as well as rites for ancestors, have been neglected, which is a serious issue. He said, “These issues should definitely be discussed. In any case, I would like you to report the results of the discussion held at the government office.” He also said that it would be best to inform her ladyship of the discussion outcomes as well.

The divination results: For now, take your time and wait patiently. Continue working steadily on small tasks. It is safer to avoid making big moves.

 

 Divination Tools: Zeichiku (Divining Sticks) and Sangi (Divining Blocks)

  • Edo period, Miyakonojo Shimazu Residence [on display during the exhibition]​

These divination tools have been passed down by the descendants of Enatsu Seikan, a scholar of Chinese classics during the Edo period (1603-1868).

Zeichiku consists of 50 sticks made by thinly shaving bamboo, and sangi is a set of six wooden square bars about 10 cm long and 2 cm wide. Divination originates in ancient China. Legend holds that it was begun by Fuxi, developed as part of the emperors’ learning, and perfected by King Wen of the Zhou Dynasty and his son, the Duke of Zhou. In ancient China, when making important decisions, religious officials known as fu (shamans) or shuku (shrine priests) received divine messages mainly through two types of divination methods: kiboku (by tortoiseshell) and shizei (by sticks). It was during the Zhou Dynasty (11th to 8th centuries B.C.E) and later that shizei developed significantly, using the stems of perennial grass, medo. In later years, bamboo came into use because it was easy to handle, eventually becoming zeichiku today. Sangi represents yin and yang and is used to visually confirm the results of divination with zeichiku.

Enatsu Seikan was a Chinese during the Ming Dynasty who settled in Uchinoura around the Shoho era (1644-1648). During the early Edo period, he and his family moved from Guangdong to escape the civil war. They started their business in Tojinmachi (Chinese Town) in Miyakonojo, and since then, the Enatsu family has earned their livelihood through studying the Chinese classics and practicing medicine for generations.

​Cultural Property Designated by Miyazaki Prefecture Goyoninza Diary​

  • August 1647 in the Edo period, 26.3 cm L, 18.0 cm W, Miyakonojo Shimazu Residence [on display from November 5]

This document is a diary from August 1647. Written by yonin, an assistant to karo (chief retainer), it records notable events that happened on that day.

The section shown is the entry for August 20, which mentions that the government office received a report about a strange flower blooming on the wooden door of the stable where horses are kept for yabusame (horseback archery) at the Hachimangu Shrine Festival. To address this, Tenchoji Temple and other temples issued instructions to attach a talisman to the door to ward off strange occurrences. Tenchoji is a Shingon sect temple established in August 1538 by the eighth family head, Hongo Tadasuke (1487-1559).

Cultural Property Designated by Miyazaki Prefecture Tenmon no Oboe (Understanding of Astronomical Phenomena)

  • Edo period, 32.9 cm L, 46.6 cm W, Miyakonojo Shimazu Residence [on display during the exhibition]

This material is a compilation of explanations about the stars visible in the sky.

At the beginning, it states that stars appearing unusually are called kaisei (mysterious stars), likening them to yokai (Japanese folklore monsters). It then specifically explains what falls under kaisei, along with illustrations, and describes the disasters that happen after they appear. According to this, seeing a shooting comet or short-tailed comet is a sign of fire or war disturbance. Many materials related to Onmyodo (The Way of Yin and Yang) still exist with the descendants of the Miyakonojo Shimazu family’s retainers. Presumably, retainers learned Onmyodo to deal with supernatural phenomena and anomalies in the stars.

​Garappa

​This illustration depicts Garappa, believed to inhabit Akusekijima Island in Kagoshima Prefecture. The creature has a distinctive figure, characterized by a thin body and long arms and legs. According to legend, getting lost in the mountains or having an upset stomach is caused by Garappa.

Kappa is one of the most well-known yokai (folklore monsters) in Japan, and there are oral traditions across the country with different names depending on the region. Garappa is said to be the name mainly used in Kagoshima and Kumamoto; however, the name Garappa also appears in legends from Miyazaki.

 

 

[Reproduction of the original made by Mizuki Shigeru] 29.7 cm L, 42.0 cm W [on display during the exhibition]

This painting of yokai is a reproduction by Mizuki Shigeru.

 ​Kappa’s Hand and Foot

  • Edo period, [Hand] 4.0 cm L, 8.2 cm W [Foot] 2.0 cm L, 14.5 cm W, Private collection kept at the Miyakonojo Shimazu Residence [on display during the exhibition]

​Front and Back Views of a Kappa

  • Edo period, 27.4 cm L, 39.8 cm W, Private collection kept at the Miyakonojo Shimazu Residence [on display during the exhibition]

 ​Document about the Origin of Kappa’s Hand and Foot

​

  • Edo period, 26.7 cm L, 38.7 cm W, Private collection kept at the Miyakonojo Shimazu Residence [on display during the exhibition]

This material relates to Kappa’s limbs on display, and both have been handed down through the Miyakonojo Shimazu family.

According to the document, the hand and foot belonged to a kappa (water goblin) that appeared in the river in Kajiyama, Mimata Town. During the Bunsei era (1818-1830), a retainer from Kagoshima Domain named Uemura Kyusuke once encountered a kappa, shot it dead, and then he became ill. Kyusuke asked a mountain ascetic through his acquaintance, Okawara Sesoku, to perform a magical rite, and he recovered his health without any problems. Tradition has it that Kyusuke gave the hands and feet of the kappa to Sesoku as a token of his gratitude, and Sesoku presented a set of one hand and foot to the Okawara family and another set to the Miyakonojo Shimazu family.

Surimono (Woodblock Print), Suiko Soden Myoyaku Majinai (Miracle Medicines and Spells Passed Down Among Kappa)

​Shown here is a set of two surimono (woodblock prints) illustrating the benefits of medicine with nine figures of kappa (water goblin).

It has been noted that the depiction of kappa’s bodies in this historical material resembles Suiko Junihin no Zu (Illustrated Guide to 12 Types of Kappa) and other sources; however, differences are also seen, such as the omission of the number of kappa portrayed. There is a theory that it was distributed by itinerant medicine peddlers, but the details are unknown.

​Surimono (Woodblock Print), Kawataro Jushikihin no Zu (Illustrated Guide to 12 Types of Kappa)

  • 1855 in the Edo period, 37.5 cm L, 51.5 cm W, National Museum of Japanese History [on display from November 5]

Kawataro Jushikihin no Zu (Illustrated Guide to 12 Types of Kappa) is a surimono (woodblock print) that depicts kappa seen and captured in various parts of the country.

In the print, the kappa is shown with various features, such as differences in whether it walks on four or two legs and its body colors.　Several similar surimono still exist, originating from Suiko Koryaku (A Study on Kappa), a book on kappa research from the Edo period (1603-1868). Suiko Koryaku was compiled in 1820 by the Confucian scholar Koga Toan (1788-1847), who served as an instructor at the Shoheizaka Gakumonjo (a Shogunate school). It is based on information from people who actually encountered kappa, along with accounts about kappa in Japanese and Chinese geographical descriptions and collections of setsuwa (short stories passed down among people).

Furthermore, besides explanations about the creature, the historical material shown here also includes the following tanka poem: inishieno yakusokuseshi wo wasurunayo kadotachioshi a sugawara (Do not forget the promise made long ago. The man standing before the gate is Sugawara). This is a spell to avoid water accidents, and similar ones have been handed down in various places since early modern times. This is valuable historical material that shows how people in the Edo period viewed kappa, not as yokai (Japanese folklore monsters), but as “living creatures” that truly existed.

​Netsuke (Toggle) Shaped Like a Kappa and a Clam

  • Edo period, 19th century, 2.1 cm H, Tokyo National Museum [on display from November 5]​

Netsuke is a toggle used to secure hanging items and pouches, such as inro cases, drawstring bags, and tobacco pouches, to the obi belt to keep them from slipping down. Although its origin is unclear, it is thought to have become commonly used around the end of the Muromachi period (1336-1573). During the second half of the 17th century, in the Edo period, netsuke began gaining attention as a craft object. Many existing examples showcase intricate work on various materials, including wood, ivory, deer or buffalo horn, metal, and tortoiseshell. This piece is crafted from animal horn, featuring a carved figure of a kappa climbing on a clamshell.

​Kappa’s Hand

  • Edo period, 9.0 cm L, Yanagawa Archives [on display during the exhibition]

Document

  • Edo period, 15.5 cm L [on display during the exhibition]​

​Allegedly, this historical material is a hand cut off from a kappa (water goblin) that frequently appeared in a river in Ashizuka Village (present-day Jojima Town, Kurume City). According to a legend recorded in Shinko Mizumagunshi (New Thoughts, The Record of Mizuma District), a village doctor named Egashira was washing his horse in the river when a kappa tried to pull the horse into the water. He then cut off the kappa’s hand with his sword and took it home. Kappa’s hand was kept in the Egashira family for a long time, but later it was transferred to the Hiromatsu family in Yanagawa. A document is attached to the hand, revealing that the kappa’s hand was submitted for inspection by Arima Yoriyoshi, the heir of the Kurume Domain (disinherited in 1793), and he asked for its fingertips to use them as a talisman.

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