The shinsatsu currently found in most Shinto shrines meanwhile are modeled after the talisman issued by the Grand Shrines of Ise (Ise Jingū) called Jingū Taima ( 神宮大麻). From left: Kaikō taima ( 海幸大麻) (a kind of kifuda for luck in fishing), kenharai ( 剣祓), kakuharai ( 角祓), and daikakuharai ( 大角祓) (a larger version of kakuharai). In a similar vein, Buddhist ofuda are regarded as imbued with the spirit and the virtue of buddhas, bodhisattvas, or other revered figures of the Buddhist pantheon, essentially functioning in many cases as a more economic alternative to Buddhist icons and statuary.ĭifferent types of Jingū Taima (upper row) and other talismans distributed in the Inner Shrine ( Naikū) of Ise. In this regard they are somewhat similar to (but not the same as) goshintai, physical objects which serve as repositories for kami in Shinto shrines. Such ofuda, also called shinsatsu ( 神札), go-shinsatsu ( 御神札) or shinpu ( 神符), are often placed on household Shinto altars ( kamidana) and revered both as a symbol of the shrine and its deity (or deities) – containing the kami's essence or power by virtue of its consecration – and a medium through which the kami in question can be accessed by the worshiper. Omamori, another kind of Japanese amulet, shares the same origin as and may be considered as a smaller, portable version of ofuda.Ī specific type of ofuda is a talisman issued by a Shinto shrine on which is written the name of the shrine or its enshrined kami and stamped with the shrine's seal. Paper ofuda may also be referred to as kamifuda ( 紙札), while those made of wood may be called kifuda ( 木札). Such amulets are also called gofu ( 護符).Ĭertain kinds of ofuda are intended for a specific purpose (such as protection against calamity or misfortune, safety within the home, or finding love) and may be kept on one's person or placed on other areas of the home (such as gates, doorways, kitchens, or ceilings). Ofuda are commonly found in both Shinto shrines and Buddhist temples and are considered to be imbued with the power of the deities ( kami) or Buddhist figures revered therein. In Shinto and Buddhism in Japan, an ofuda ( お札/ 御札, honorific form of fuda, ' slip, card, plate ') is a talisman made out of various materials such as paper, wood, cloth or metal. The yokai world is vast, and although it is becoming more popular than ever, it is easy to get lost in the repackaging of Japanese yokai culture to charm modern audiences.Jingū taima ( 神宮大麻), an ofuda ( shinsatsu) issued by the Grand Shrines of Ise He holds a golden mallet, which grants the child good fortune. The painting above shows a typical expression of the Daikokuten, with his beaming smile and exaggerated, gigantic ears. He is often described as the Japanese equivalent of the Hindu deity Mahakala, and as a god of wealth. The Daikokuten in this early, twentieth century painting, is an example of a benevolent ijin. These types range from religious figures, to craftsmen, to beggars and pilgrims. While there are many types of ijin, some pleasant and others malicious, most are said to be harmless. They are outsiders that have crossed the boundary that stands between two separate worlds, often to complete a task. Ijin are people from what is called Ikai, a world that is beyond our own. How many yokai are there? The series was known as Gazu Hyakki Yagyo series, meaning Illustrated Night Parade of a Hundred Spirits, although in this context, one hundred just means many! These three texts illustrate more than two hundred of these Japanese demons, each with its own brief description and commentary. Using the newly developed technologies of woodblock printing, Sekien was able to mass-produce yokai illustrations in his own catalogs of the monster parade. This formed the basis for Japan’s first definitive encyclopedia of yokai characters through the work of 18th century printmaker Toriyama Sekien. One of the oldest examples of yokai art was the Hyakki Yagyo Zu, a 16th century scroll that portrayed a pandemonium of Japanese monsters. It is no coincidence that their rise to the forefront of artistic culture began at a time when the printing press and publishing technology became widespread. Yokai had existed in Japanese folklore for centuries, but was during the Edo period (17th-19th centuries) that they began to be widely seen in art.
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