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177-586: Yōkai ( 妖怪 , "strange apparition") are a class of supernatural entities and spirits in Japanese folklore . The kanji representation of the word yōkai comprises two characters that both mean "suspicious, doubtful", and while the Japanese name is simply the Japanese transliteration or pronunciation of the Chinese term yaoguai (which designates similarly strange creatures), some Japanese commentators argue that

354-574: A deity or other supernatural entity or entities. Some religions have religious texts which they view as divinely or supernaturally revealed or inspired. For instance, Orthodox Jews , Christians and Muslims believe that the Torah was received from Yahweh on biblical Mount Sinai . Most Christians believe that both the Old Testament and the New Testament were inspired by God. Muslims believe

531-486: A non-physical entity ; such as a ghost , fairy , jinn or angel . The concepts of a person's spirit and soul , often also overlap, as both are either contrasted with or given ontological priority over the body and both are believed to survive bodily death in some religions, and "spirit" can also have the sense of " ghost ", i.e. a manifestation of the spirit of a deceased person. In English Bibles , "the Spirit" (with

708-720: A polytheistic religion)", or anything revered as divine. C. Scott Littleton defines a deity as "a being with powers greater than those of ordinary humans, but who interacts with humans, positively or negatively, in ways that carry humans to new levels of consciousness , beyond the grounded preoccupations of ordinary life." A male deity is a god , while a female deity is a goddess . Religions can be categorized by how many deities they worship. Monotheistic religions accept only one deity (predominantly referred to as God), polytheistic religions accept multiple deities. Henotheistic religions accept one supreme deity without denying other deities, considering them as equivalent aspects of

885-455: A semi-deity or other strange kind of being, such as this discourse examines the notion of. And besides these more absolute acceptions, if I may so call them, of the word nature , it has divers others (more relative), as nature is wont to be set or in opposition or contradistinction to other things, as when we say of a stone when it falls downwards that it does it by a natural motion , but that if it be thrown upwards its motion that way

1062-449: A body, especially a living one, as when physicians say that nature is strong or weak or spent, or that in such or such diseases nature left to herself will do the cure . Sometimes we take nature for the universe , or system of the corporeal works of God , as when it is said of a phoenix , or a chimera , that there is no such thing in nature , i.e. in the world. And sometimes too, and that most commonly, we would express by nature

1239-421: A by-product of the doctrine of creation ex nihilo . In process thought, there is no such thing as a realm of the natural in contrast to that which is supernatural. On the other hand, if "the natural" is defined more neutrally as "what is in the nature of things," then process metaphysics characterizes the natural as the creative activity of actual entities. In Whitehead's words, "It lies in the nature of things that

1416-626: A capital "S"), specifically denotes the Holy Spirit . Spirit is often used metaphysically to refer to the consciousness or personality . Historically, it was also used to refer to a "subtle" as opposed to "gross" material substance, as in the famous last paragraph of Sir Isaac Newton 's Principia Mathematica . A demon (from Koine Greek δαιμόνιον daimónion ) is a supernatural and often malevolent being prevalent in religion , occultism , literature , fiction , mythology and folklore . In Ancient Near Eastern religions as well as in

1593-477: A decorative appearance. The format of the emakimono , long scrolls of limited height, requires the solving of all kinds of composition problems: it is first necessary to make the transitions between the different scenes that accompany the story, to choose a point of view that reflects the narration, and to create a rhythm that best expresses the feelings and emotions of the moment. In general, there are thus two main categories of emakimono : those which alternate

1770-672: A doctrine, or even as an act of faith, because copying illustrated sutras must allow communion with the deities (a theory even accredits the idea that the Kitano Tenjin Engi Emaki would have aimed to pacify evil spirits). Proselytising, favoured by the emergence of the Pure Land Buddhist sects during the Kamakura era, changed the methods of emakimono production, because works of proselytism were intended to be copied and disseminated widely in many associated temples, explaining

1947-403: A key episode of the novel and is followed by a calligraphic extract on paper richly decorated with gold and silver powder. The Genji Monogatari Emaki already presents the composition techniques specific to the art of emakimono : an oblique point of view, the movement of the eyes guided by long diagonals from the top right to the bottom left, and even the removal of the roofs to represent

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2124-533: A local god but turned into a yōkai who was slain by Susanoo . Yasaburo was originally a bandit whose vengeful spirit ( onryō ) turned into a poisonous snake upon death and plagued the water in a paddy, but eventually became deified as the "wisdom god of the well". Kappa and inugami are sometimes treated as gods in one area and yōkai in other areas. From these examples, it can be seen that among Japanese gods, there are some beings that can go from god to yōkai and vice versa. Medieval Japan

2301-412: A manga artist of yōkai , in writings concerning research about yōkai , pointed out that newly created yōkai do exist, and Mizuki himself, through GeGeGe no Kitaro , created about 30 new yōkai . There has been much criticism that this mixing of classical yōkai with newly created yōkai is making light of tradition and legends. However, since there have already been those from

2478-446: A medieval scholastic of the 12th century, explored causes beyond nature, questioning how certain phenomena could be attributed solely to God. In his writings, he used the term praeter naturam to describe these occurrences. In the scholastic period, Thomas Aquinas classified miracles into three categories: "above nature", "beyond nature" and "against nature". In doing so, he sharpened the distinction between nature and miracles more than

2655-565: A monk, remains remarkable for its influences, so far rare, from the Song dynasty (via the wash technique ) and the Tang dynasty (the shan shui style), as well as by its very precise representations of forts in many Japanese landscapes. As for the Saigyō Monogatari Emaki  [ fr ] , it addresses the declining aristocracy in idealising the figure of the monk aesthete Saigyō by

2832-400: A more social character, usually in a religious context, as seen in traditional African medicine . Fortune-telling, on the other hand, is a more everyday practice for personal purposes. Particular divination methods vary by culture and religion. Divination is dismissed by the scientific community and skeptics as being superstition . In the 2nd century, Lucian devoted a witty essay to

3009-436: A part of children's horror books, but along with the yōkai that come from classics like folklore, Kaidan , and essays, it has been pointed out by modern research that there are some mixed in that do not come from classics, but were newly created. Some well-known examples of these are the gashadokuro and the jubokko . For example, Arifumi Sato is known to be a creator of modern yōkai , and Shigeru Mizuki ,

3186-610: A peak of Japanese civilization via the culture of the emperor's court, although intrigue and disinterest in things of the state resulted in the Genpei War . This perception arises from the aesthetics and the codified and refined art of living that developed at the Heian court, as well as a certain restraint and melancholy born from the feeling of the impermanence of things (a state of mind referred to as mono no aware in Japanese). Furthermore,

3363-404: A physical system by a subject without any known intermediate energy or instrumentation" (1945:305). Views on the "supernatural" vary, for example it may be seen as: Anthropological studies across cultures indicate that people do not hold or use natural and supernatural explanations in a mutually exclusive or dichotomous fashion. Instead, the reconciliation of natural and supernatural explanations

3540-445: A querent should proceed by reading signs, events, or omens , or through alleged contact with a supernatural agency. Divination can be seen as a systematic method with which to organize what appear to be disjointed, random facets of existence such that they provide insight into a problem at hand. If a distinction is to be made between divination and fortune-telling , divination has a more formal or ritualistic element and often contains

3717-562: A result of emphasizing the superior status of human society over yōkai . Publications included: In this way, yōkai that were mentioned only in writing were given a visual appearance in the Middle Ages. In the Otogizōshi , familiar tales such as Urashima Tarō and Issun-bōshi also appeared. The next major change in yōkai came after the period of warring states, in the Edo period. It

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3894-602: A role in attracting tourism revitalizing local mecca regions such as Tōno in Iwate Prefecture (where stories in Kunio Yanagita 's Tono Monogatari were collected) or Tottori Prefecture ( Shigeru Mizuki 's birthplace). In this way, yōkai are spoken about in legends in various forms, but traditional oral storytelling by the elders and the older people is rare, and regionally unique situations and background in oral storytelling are not easily conveyed. For example,

4071-574: A school he founded in honour of his father Fujiwara no Takanobu ). Among the temple workshops, it is known that the Kōzan-ji workshop was particularly prolific, under the leadership of the monk Myōe , a great scholar who brought in many works from Song dynasty China. Thus, the Jōnin brushstrokes on the Kegon Engi Emaki or the portrait of Myōe reveal the first Song influences in Japanese painting. However,

4248-407: A spiritual entity that may be conjured and controlled. Magic or sorcery is the use of rituals , symbols , actions, gestures , or language with the aim of utilizing supernatural forces. Belief in and practice of magic has been present since the earliest human cultures and continues to have an important spiritual, religious and medicinal role in many cultures today. The term magic has

4425-450: A stone let fall in the air is by nature carried towards the centre of the earth , and, on the contrary, that fire or flame does naturally move upwards toward firmament . Sometimes we understand by nature the established course of things, as when we say that nature makes the night succeed the day , nature hath made respiration necessary to the life of men. Sometimes we take nature for an aggregate of powers belonging to

4602-493: A story or a succession of anecdotes (such as literary chronicles or Buddhist parables), combining pictorial and narrative elements, the combination of which characterises the dominant art movements in Japan between the 12th and 14th centuries. An emakimono is read, according to the traditional method, sitting on a mat with the scroll placed on a low table or on the floor. The reader then unwinds with one hand while rewinding it with

4779-404: A supernatural entity reported as being present during the event is called a vision . Direct conversations between the recipient and the supernatural entity, or physical marks such as stigmata , have been reported. In rare cases, such as that of Saint Juan Diego , physical artifacts accompany the revelation. The Roman Catholic concept of interior locution includes just an inner voice heard by

4956-586: A temple, and the religious scrolls do not refrain from representing popular things. So, for example, the Hōnen Shōnin Eden  [ fr ] presents a rich overview of medieval civilization. Colophons and comparative studies sometimes allow for the deduction of the name of the artist of an emakimono : for example, the monk En'i  [ fr ] signed the Ippen Shōnin Eden , historians designate Tokiwa Mitsunaga  [ fr ] as

5133-656: A turtle, and the tengu , commonly depicted with wings), but may also appear humanoid in appearance, such as the kuchisake-onna (口裂け女). Some yōkai resemble inanimate objects (such as the tsukumogami ), while others have no discernible shape. Yōkai are typically described as having spiritual or supernatural abilities, with shapeshifting being the most common trait associated with them. Yōkai that shapeshift are known as bakemono ( 化け物 ) or obake ( お化け ) . Japanese folklorists and historians explain yōkai as personifications of "supernatural or unaccountable phenomena to their informants". In

5310-438: A variety of meanings, and there is no widely agreed upon definition of what it is. Scholars of religion have defined magic in different ways. One approach, associated with the anthropologists Edward Tylor and James G. Frazer , suggests that magic and science are opposites. An alternative approach, associated with the sociologists Marcel Mauss and Emile Durkheim , argues that magic takes place in private, while religion

5487-503: A variety of ways – masculine, feminine, androgynous and gender neutral. Historically, many ancient cultures – such as Ancient India , Ancient Iraq , Ancient Egyptian , Ancient Greek , Ancient Roman , Nordic and Asian culture – personified natural phenomena , variously as either their conscious causes or simply their effects, respectively. Some Avestan and Vedic deities were viewed as ethical concepts. In Indian religions , deities have been envisioned as manifesting within

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5664-469: Is hypernymic to religion . Religions are standardized supernaturalist worldviews, or at least more complete than single supernaturalist views. Supernaturalism is the adherence to the supernatural (beliefs, and not violations of causality and the physical laws). Occurring as both an adjective and a noun , antecedents of the modern English compound supernatural enter the language from two sources: via Middle French ( supernaturel ) and directly from

5841-453: Is violent . So chemists distinguish vitriol into natural and fictitious , or made by art, i.e. by the intervention of human power or skill; so it is said that water , kept suspended in a sucking pump, is not in its natural place, as that is which is stagnant in the well. We say also that wicked men are still in the state of nature , but the regenerate in a state of grace ; that cures wrought by medicines are natural operations; but

6018-433: Is a combination of extensive evidence of something not occurring , combined with an underlying scientific theory , very successful in making predictions, whose assumptions lead logically to the conclusion that something is impossible. While an impossibility assertion in natural science can never be absolutely proved, it could be refuted by the observation of a single counterexample . Such a counterexample would require that

6195-485: Is a communal and organised activity. Many scholars of religion have rejected the utility of the term magic and it has become increasingly unpopular within scholarship since the 1990s. The term magic comes from the Old Persian magu , a word that applied to a form of religious functionary about which little is known. During the late sixth and early fifth centuries BC, this term was adopted into Ancient Greek , where it

6372-407: Is a school of thought influenced by the metaphysical process philosophy of Alfred North Whitehead (1861–1947) and further developed by Charles Hartshorne (1897–2000). It is not possible, in process metaphysics, to conceive divine activity as a "supernatural" intervention into the "natural" order of events. Process theists usually regard the distinction between the supernatural and the natural as

6549-406: Is an illustrated horizontal narration system of painted handscrolls that dates back to Nara-period (710–794 CE) Japan . Initially copying their much older Chinese counterparts in style, during the succeeding Heian (794–1185) and Kamakura periods (1185–1333), Japanese emakimono developed their own distinct style. The term therefore refers only to Japanese painted narrative scrolls. As in

6726-495: Is defined in the Journal of Parapsychology as "personal factors or processes in nature which transcend accepted laws" (1948: 311) and "which are non-physical in nature" (1962:310), and it is used to cover both extrasensory perception (ESP), an "awareness of or response to an external event or influence not apprehended by sensory means" (1962:309) or inferred from sensory knowledge, and psychokinesis (PK), "the direct influence exerted on

6903-473: Is featured in folklore and religious contexts, but can also feature as an explanation in more secular contexts, as in the cases of superstitions or belief in the paranormal . The term is attributed to non-physical entities , such as angels , demons , gods and spirits . It also includes claimed abilities embodied in or provided by such beings, including magic , telekinesis , levitation , precognition and extrasensory perception . The supernatural

7080-489: Is found in many ancient cultures, and a belief in rebirth/ metempsychosis was held by Greek historic figures, such as Pythagoras , Socrates and Plato . It is also a common belief of various ancient and modern religions such as Spiritism , Theosophy and Eckankar and as an esoteric belief in many streams of Orthodox Judaism . It is found as well in many tribal societies around the world, in places such as Australia , East Asia , Siberia and South America . Although

7257-407: Is kept closed by a cord and stored alone or with other rolls in a box intended for this purpose, and which is sometimes decorated with elaborate patterns. An emakimono can consist of several successive scrolls as required of the story – the Hōnen Shōnin Eden  [ fr ] was made up of 48 scrolls, although the standard number typically falls between one and three. An emakimono

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7434-414: Is known as " angelology ". In fine art , angels are usually depicted as having the shape of human beings of extraordinary beauty; they are often identified using the symbols of bird wings , halos and light . Prophecy involves a process in which messages are communicated by a god to a prophet . Such messages typically involve inspiration, interpretation, or revelation of divine will concerning

7611-466: Is made up of two elements: the sections of calligraphic text known as kotoba-gaki , and the sections of paintings referred to as e ; their size, arrangement and number vary greatly, depending on the period and the artist. In emakimono inspired by literature, the text occupies no less than two-thirds of the space, while other more popular works, such as the Chōjū-jinbutsu-giga , favour

7788-510: Is natural or ordinary; unnaturally or extraordinarily great; abnormal, extraordinary". Obsolete uses include "of, relating to, or dealing with metaphysics ". As a noun, the term can mean "a supernatural being", with a particularly strong history of employment in relation to entities from the mythologies of the indigenous peoples of the Americas . The ancient world had no word that resembled "supernatural". Dialogues from Neoplatonic philosophy in

7965-471: Is normal and pervasive across cultures. Cross cultural studies indicate that there is coexistence of natural and supernatural explanations in both adults and children for explaining numerous things about the world, such as illness, death, and origins. Context and cultural input play a large role in determining when and how individuals incorporate natural and supernatural explanations. The coexistence of natural and supernatural explanations in individuals may be

8142-496: Is one of the first Western publications of its kind. Yōkai remain prevalent in modern works of fiction. Shigeru Mizuki , the manga creator of such series as GeGeGe no Kitaro and Kappa no Sanpei , keeps yōkai in the popular imagination. Other popular works focusing on yōkai include the Nurarihyon no Mago series, Yu Yu Hakusho , Inuyasha: A Feudal Fairy Tale , Yo-kai Watch and the 1960s Yokai Monsters film series, which

8319-402: Is possible within the boundaries of the laws of physics. Epistemologically , the relationship between the supernatural and the natural is indistinct in terms of natural phenomena that, ex hypothesi, violate the laws of nature, in so far as such laws are realistically accountable . Parapsychologists use the term psi to refer to an assumed unitary force underlying the phenomena they study. Psi

8496-600: Is that of the Yamato Monogatari , offered to the Empress between 872 and 907. However, the stylistic mastery of later works (from the 12th century) leads most experts to believe that the "classical" art of emakimono grew during this period from the 10th century, first appearing in illustrations in novels or diaries produced by the ladies of the court. In addition, the initial themes remained close to waka poetry (seasons, Buddhism, nature and other themes). Therefore,

8673-473: Is that there is disagreement about the definition of "natural" and the limits of naturalism . Concepts in the supernatural domain are closely related to concepts in religious spirituality and occultism or spiritualism . For sometimes we use the word nature for that Author of nature whom the schoolmen , harshly enough, call natura naturans , as when it is said that nature hath made man partly corporeal and partly immaterial . Sometimes we mean by

8850-470: Is the philosophical or religious concept that an aspect of a living being starts a new life in a different physical body or form after each biological death . It is also called rebirth or transmigration , and is a part of the Saṃsāra doctrine of cyclic existence. It is a central tenet of all major Indian religions , namely Jainism , Hinduism , Buddhism and Sikhism . The idea of reincarnation

9027-527: The Dōjō-ji Engi Emaki  [ fr ] (16th century). On the other hand, the innovative and more spiritual influences of Chinese Song art , deeply rooted in spirituality and Zen Buddhism, initiated the dominant artistic movement of wash (ink or monochromatic painting in water, sumi-e or suiboku-ga in Japanese) in the ensuing Muromachi period , guided by such famous artists as Tenshō Shūbun or Sesshū Tōyō . A professional current

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9204-540: The Gazu Hyakki Yagyō by Toriyama Sekien is one example. When the Hyakumonogatari Kaidankai became popular in the Edo period, it is thought that one reason for the appearance of new yōkai was a demand for entertaining ghost stories about yōkai no one has ever heard of before, resulting in some that were simply made up for the purpose of telling an entertaining story. The kasa-obake and

9381-705: The Ishiyama-dera Engi Emaki  [ fr ] (1497), the Seikō-ji Engi emaki  [ fr ] (1487) or a version of the Kitano Tenjin Engi Emaki (1503); he paid great attention to details and colours, despite a common composition. In a more general way, the illustration of novels in the classic yamato-e style (such as the many versions of the Genji Monogatari Emaki or The Tales of Ise Emaki ) persisted during late medieval times. If emakimono therefore ceased to be

9558-469: The Shigisan Engi Emaki . For example, the Kitano Tenjin Engi Emaki recounts the life and death of Sugawara no Michizane , Minister in the 9th century and tragic figure in Japanese history, revered in the manner of a god ( kami ). The rich colours, the tense contours, the search for movement and the very realistic details of the faces well illustrate this mixture of styles, especially as

9735-457: The Zuijin Teiki Emaki attributed to Fujiwara no Nobuzane , directly present portrait galleries according to the iconographic techniques of the time. A similar change was felt in religion as the esoteric Buddhist sects of the Heian era ( Tendai and Shingon ) gave way to Pure Land Buddhism ( Jōdo ), which primarily addressed the people by preaching simple practices of devotion to

9912-484: The tōfu-kozō are known examples of these. They are also frequently depicted in ukiyo-e , and there are artists that have drawn famous yōkai like Utagawa Kuniyoshi , Yoshitoshi , Kawanabe Kyōsai , and Hokusai , and there are also Hyakki Yagyō books made by artists of the Kanō school . In this period, toys and games like karuta and sugoroku , frequently used yōkai as characters. Thus, with

10089-471: The yamato-e style, these Japanese works are above all an everyday art, centered on the human being and the sensations conveyed by the artist. Although the very first 8th-century emakimono were copies of Chinese works, emakimono of Japanese taste appeared from the 10th century in the Heian imperial court , especially among aristocratic ladies with refined and reclusive lives, who devoted themselves to

10266-640: The Kitano Tenjin Engi Emaki or the Ippen Shōnin Eden . As for the workshops of the court, they satisfied the orders of the palace, whether for the illustration of novels or historical chronicles, such as the Heiji Monogatari Emaki . A form of exploitation of the story could also motivate the sponsor: for example, Heiji Monogatari Emaki were produced for the Minamoto clan (winner of

10443-740: The shinigami were misunderstood as a kind of Japanese yōkai or kami , they actually became well known among the populace through a rakugo called Shinigami by San'yūtei Enchō , which were adoptions of European tales such as the Grimm fairy tale "Godfather Death" and the Italian opera Crispino e la comare (1850). Also, in 1908, Kyōka Izumi and Chikufū Tobari  [ ja ] jointedly translated Gerhart Hauptmann 's play The Sunken Bell . Later works of Kyōka such as Yasha ga Ike  [ ja ] were influenced by The Sunken Bell , and so it can be seen that folktales that come from

10620-570: The tsurube (a bucket used for getting water from a well), and there exist yōkai that are reminiscent of old lifestyles such as the azukiarai and the dorotabō  [ ja ] . As a result, even for those born in the first decade of the Shōwa period (1925–1935), except for some who were evacuated to the countryside, they would feel that those things that become yōkai are "not familiar" and "not very understandable". For example, in classical rakugo , even though people understand

10797-453: The Abrahamic traditions , including ancient and medieval Christian demonology , a demon is considered a harmful spiritual entity, below the heavenly planes which may cause demonic possession , calling for an exorcism . In Western occultism and Renaissance magic , which grew out of an amalgamation of Greco-Roman magic , Jewish Aggadah and Christian demonology , a demon is believed to be

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10974-456: The Amida Buddha . These very active sects used emakimono intensively during the 13th and 14th centuries to illustrate and disseminate their doctrines. Several religious practices influenced the Kamakura emakimono : notably, public sermons and picture explaining sessions ( 絵解 , e-toki ) led the artists to use scrolls of larger size than usual, and to represent the protagonists of

11151-506: The Edo period (1603 to 1868), many artists, such as Toriyama Sekien (1712-1788), invented new yōkai by taking inspiration from folk-tales or purely from their own imagination. Today, several such yōkai (such as the amikiri ) are mistakenly thought to originate in more traditional folklore. The concept of yōkai , their causes and phenomena related to them varies greatly throughout Japanese culture and historical periods; typically,

11328-508: The Genpei War ), and the Mōko Shūrai Ekotoba was created to extol the deeds of a samurai in search of recognition from the shōgun . These works were, it seems, intended to be read by nobles. Nevertheless, Seckel and Hasé assert that the separation between the secular and the religious remains unclear and undoubtedly does not correspond to an explicit practice: thus, the aristocrats regularly ordered emakimono to offer them to

11505-453: The Nara period , the Japanese were inspired by the Tang dynasty : administration, architecture, dress customs or ceremonies. The exchanges between China and Japan were also fruitful for the arts, mainly religious arts, and the artists of the Japanese archipelago were eager to copy and appropriate continental techniques. In that context, experts assume that the first Chinese painted scrolls arrived on

11682-545: The Quran was revealed by God to Muhammad word by word through the angel Gabriel ( Jibril ). In Hinduism , some Vedas are considered apauruṣeya , "not human compositions", and are supposed to have been directly revealed, and thus are called śruti , "what is heard". Aleister Crowley stated that The Book of the Law had been revealed to him through a higher being that called itself Aiwass . A revelation communicated by

11859-613: The Roman era as well as the Indian religions, have been the subject of recent scholarly research. Unity Church and its founder Charles Fillmore teaches reincarnation. In recent decades, many Europeans and North Americans have developed an interest in reincarnation, and many contemporary works mention it. Karma ( / ˈ k ɑːr m ə / ; Sanskrit : कर्म , romanized :  karma , IPA: [ˈkɐɽmɐ] ; Pali : kamma ) means action, work or deed; it also refers to

12036-483: The afterlife , or in exceptional cases enter heaven alive . Heaven is often described as a "higher place", the holiest place, a Paradise , in contrast to hell or the Underworld or the "low places" and universally or conditionally accessible by earthly beings according to various standards of divinity , goodness , piety , faith , or other virtues or right beliefs or simply the will of God . Some believe in

12213-503: The miraculous ones wrought by Christ and his apostles were supernatural . Nomological possibility is possibility under the actual laws of nature . Most philosophers since David Hume have held that the laws of nature are metaphysically contingent—that there could have been different natural laws than the ones that actually obtain. If so, then it would not be logically or metaphysically impossible, for example, for you to travel to Alpha Centauri in one day; it would just have to be

12390-433: The nature of a thing the essence , or that which the schoolmen scruple not to call the quiddity of a thing, namely, the attribute or attributes on whose score it is what it is, whether the thing be corporeal or not, as when we attempt to define the nature of an angle , or of a triangle , or of a fluid body, as such. Sometimes we take nature for an internal principle of motion , as when we say that

12567-503: The six realms (or destinies  [ fr ] ) Buddhist paintings ( rokudō-e ) – such as the Hell Scroll or the two versions of the Gaki Zōshi  [ fr ] , otoko-e paintings – aimed to frighten the faithful with horror scenes. Retracing the evolution of emakimono remains difficult, due to the few works that have survived. However, the obvious mastery of

12744-652: The 10th century Imperial Court. The beginnings of the Japanese-inspired Heian period painting technique, retrospectively named yamato-e , can be found initially in some aspects of Buddhist painting of the new esoteric Tendai and Shingon sects, then more strongly in Pure Land Buddhism ( Jodō ); after a phase when Chinese techniques were copied, the art of the Japanese archipelago became progressively more delicate, lyrical, decorative with less powerful but more colorful compositions. Nevertheless, it

12921-659: The 3rd century CE under the Han dynasty and the 2nd century CE under the Zhou dynasty , the pottery of which was adorned with hunting scenes juxtaposed with movements. Paper was invented in China in about the 1st century CE, simplifying the writing on scrolls of laws or sutra, sometimes decorated. The first narrative scrolls arrived later; various masters showed interest in this medium, including Gu Kaizhi (345–406), who experimented with new techniques. Genre painting and Chinese characters, dominant in

13098-659: The 4th century CE. They were used for religious texts and entered China by the 1st century. Handscrolls were introduced to Japan centuries later through the spread of Buddhism. The earliest extant Japanese handscroll was created in the 8th century and focuses on the life of the Buddha. The origins of Japanese handscrolls can be found in China and, to a lesser extent, in Korea , the main sources of Japanese artistic inspiration until modern times. Narrative art forms in China can be traced back to between

13275-417: The Chinese yaoguai and Japanese yokai include strange, supernatural beings with shapeshifting tendencies. In the Chinese version of the yaoguai , the emphasis is often on the first character 妖 yao, which connotes bewilderment and enchantment and supernatural affliction - for example, their ability to take on human form in order to seduce and to enthrall human beings. In the yokai, the emphasis appears to be on

13452-437: The Chinese and Korean scrolls, emakimono combine calligraphy and illustrations and are painted, drawn or stamped on long rolls of paper or silk sometimes measuring several metres. The reader unwinds each scroll little by little, revealing the story as seen fit. Emakimono are therefore a narrative genre similar to the book, developing romantic or epic stories, or illustrating religious texts and legends. Fully anchored in

13629-399: The Edo period like Sekien Toriyama who created many new yōkai , there is also the opinion that it is unreasonable to criticize modern creations without doing the same for classical creations too. Furthermore, there is a favorable view that says that introducing various yōkai characters through these books nurtured creativity and emotional development of young readers of the time. Both

13806-424: The Edo period, there were plenty of interpretations about what the yōkai were that were classified as kappa , but because of books and publishing, the notion of kappa became anchored to what is now the modern notion of kappa . Also, including other kinds of publications, other than yōkai born from folk legend, there were also many invented yōkai that were created through puns or word plays;

13983-565: The Heian period onwards, emakimono came to be dissociated from China, mainly in their themes. Chinese scrolls were intended mainly to illustrate the transcendent principles of Buddhism and the serenity of the landscapes, suggesting the grandeur and the spirituality. The Japanese, on the other hand, had refocused their scrolls on everyday life and man, conveying drama, humour and feelings. Thus, emakimono began to be inspired by literature, poetry, nature and especially everyday life; in short, they formed an intimate art, sometimes in opposition to

14160-549: The Middle Ages, although in the early modern period Italian humanists reinterpreted the term in a positive sense to establish the idea of natural magic . Both negative and positive understandings of the term were retained in Western culture over the following centuries, with the former largely influencing early academic usages of the word. Throughout history, there have been examples of individuals who practiced magic and referred to themselves as magicians. This trend has proliferated in

14337-693: The Middle French's term's ancestor, post- Classical Latin ( supernaturalis ). Post-classical Latin supernaturalis first occurs in the 6th century, composed of the Latin prefix super- and nātūrālis (see nature ). The earliest known appearance of the word in the English language occurs in a Middle English translation of Catherine of Siena 's Dialogue ( orcherd of Syon , around 1425; Þei haue not þanne þe supernaturel lyȝt ne þe liȝt of kunnynge, bycause þei vndirstoden it not ). The semantic value of

14514-477: The West became adapted into Japanese tales of yōkai . Since yōkai have been introduced in various kinds of media, they have become well known among people from all walks of life. The kamishibai from before the war, the manga industry, kashi-hon shops that continued to exist until around the 1970s, and television all contributed to the public knowledge and familiarity with yōkai . Yōkai play

14691-651: The ancient past, and mentions of oni , orochi , among other kinds of mysterious phenomena can already be seen in them. In the Heian period, collections of stories about yōkai and other supernatural phenomena were published in multiple volumes, starting with publications such as the Nihon Ryōiki and the Konjaku Monogatarishū , and in these publications, mentions of phenomena such as Hyakki Yagyō can be seen. The yōkai that appear in this literature were passed on to later generations. Despite

14868-495: The art of emakimono . Under the impetus of the new warrior class in power, and the new Buddhist sects, production was indeed very sustained and the themes and techniques more varied than before. The emakimono style of the time was characterized by two aspects: the synthesis of the genres of yamato-e , and realism. Initially, the evolution marked previously by the Ban Dainagon Ekotoba (very late Heian era)

15045-431: The artistic tastes of the court in the 11th century, inclined to an emotional, melancholic and refined representation of relations within the palace, and formed a pictorial vector very suited to the narrative. Even though they are mentioned in the antique texts, no emakimono of the early Heian period (9th and 10th centuries) remains extant today; the oldest emakimono illustrating a novel mentioned in period sources

15222-471: The arts led to a more realistic and human representation (anger, pain or size). If the activity related to religion was prolific, then so too were the orders of the bushi (noble warriors). Several emakimono of historical or military chronicles are among the most famous, notably the Hōgen Monogatari Emaki  [ fr ] (no longer extant) and the Heiji Monogatari Emaki ; of

15399-442: The arts, poetry, painting, calligraphy and literature. However, no emakimono remain from the Heian period, and the oldest masterpieces date back to the "golden age" of emakimono in the 12th and 13th centuries. During this period, the techniques of composition became highly accomplished, and the subjects were even more varied than before, dealing with history, religion, romances, and other famous tales. The patrons who sponsored

15576-479: The assumptions underlying the theory that implied the impossibility be re-examined. Some philosophers, such as Sydney Shoemaker , have argued that the laws of nature are in fact necessary, not contingent; if so, then nomological possibility is equivalent to metaphysical possibility. The term supernatural is often used interchangeably with paranormal or preternatural —the latter typically limited to an adjective for describing abilities which appear to exceed what

15753-598: The author of the Ban Dainagon Ekotoba and the Nenjū Gyōji Emaki  [ fr ] , or Enichibō Jōnin  [ fr ] for part of the Kegon Engi Emaki . Nevertheless, the life of these artists remains poorly known, at most they seem to be of noble extraction. Such a background is particularly implied by the always very precise depictions in emakimono of the imperial palace (interior architecture, clothing and rituals) or official bodies (notably

15930-480: The beauty of its landscapes and its calligraphic poetry. Towards the middle of the Kamakura period, there was a revival of interest in the Heian court, which already appeared to be a peak of Japanese civilization, and its refined culture. Thus the Murasaki Shikibu Nikki Emaki , which traces the life and intrigues of Murasaki Shikibu , author of The Tale of Genji (10th century), largely reflects

16107-501: The book [綜合日本民俗語彙] Error: {{Transliteration}}: transliteration text not Latin script ( help ) ("A Complete Dictionary of Japanese Folklore", Sogo Nihon Minzoku Goi) as follows: The ancient times were a period abundant in literature and folktales mentioning and explaining yōkai . Literature such as the Kojiki , the Nihon Shoki , and various Fudoki expositioned on legends from

16284-425: The calligraphy and the image, each new painting illustrating the preceding text, and those which present continuous paintings, not interrupted by the text, where various technical measures allow the fluid transitions between the scenes. Today, emakimono offer a unique historical glimpse into the life and customs of Japanese people, of all social classes and all ages, during the early part of medieval times. Few of

16461-434: The career of a charlatan , " Alexander the false prophet ", trained by "one of those who advertise enchantments, miraculous incantations, charms for your love-affairs, visitations for your enemies, disclosures of buried treasure and successions to estates". Emakimono Illustrated handscrolls , emakimono ( 絵巻物 , lit.   ' illustrated scroll ' , also emaki-mono ) , or emaki ( 絵巻 )

16638-425: The case that you could travel faster than the speed of light. But of course there is an important sense in which this is not nomologically possible; given that the laws of nature are what they are. In the philosophy of natural science , impossibility assertions come to be widely accepted as overwhelmingly probable rather than considered proved to the point of being unchallengeable. The basis for this strong acceptance

16815-401: The classical yōkai represented by tsukumogami can only be felt as something realistic by living close to nature, such as with tanuki ( Japanese raccoon dogs ), foxes and weasels . Furthermore, in the suburbs, and other regions, even when living in a primary-sector environment, there are tools that are no longer seen, such as the inkstone , the kama (a large cooking pot), or

16992-491: The classical scrolls of the end of the Heian period testifies to at least a century of maturation and pictorial research. These foundations permitted the emakimono artists of the ensuing Kamakura period to engage in sustained production in all of the themes. The era covering the end of the Heian period and much of the Kamakura period , or the 12th and 13th centuries, is commonly described by art historians as "the golden age" of

17169-439: The concept of the soul of the deceased making its own journey to the underworld, with the dead needing to be taken across a defining obstacle such as a lake or a river to reach this destination. Imagery of such journeys can be found in both ancient and modern art. The descent to the underworld has been described as "the single most important myth for Modernist authors". A spirit is a supernatural being, often but not exclusively

17346-504: The construction of a story, so the composition must be based on the transitions from scene to scene until the final denouement. Emakimono were initially strongly influenced by China, as were the Japanese arts of the time; the Illustrated Sutra of Cause and Effect  [ fr ] incorporates many of the naive, simple styles of the Tang dynasty , although dissonances can be discerned, especially in relation to colours. From

17523-428: The court. Monks were also able to produce paintings without any patronage. Secondly, in medieval Japan there were professional painters' workshops  [ fr ] ( 絵 所 , literally 'painting office' ) ; during the Kamakura period, professional production dominated greatly, and several categories of workshops were distinguished: those officially attached to the palace ( kyūtei edokoro ), those attached to

17700-416: The creation of these emakimono were above all the aristocrats and Buddhist temples. From the 14th century, the emakimono genre became more marginal, giving way to new movements born mainly from Zen Buddhism. Emakimono paintings mostly belong to the yamato-e style, characterized by its subjects from Japanese life and landscapes, the staging of the human, and an emphasis on rich colours and

17877-511: The creativity of classical scrolls is felt even less in otogi-zōshi , because even though the composition is similar, the lack of harmony of colors and the overloaded appearance are detrimental; it seems that the production is often the work of amateurs. However, a field of study of nara-ehon and the nara-e pictorial style exists on the fringes and stands out from the framework of emakimono . Various other artists, notably Tawaraya Sōtatsu and Yosa Buson , were still interested in

18054-522: The creatures cannot do, in traditional theism, in comparison to what they can do in process metaphysics (that is, to be part creators of the world with God). Heaven , or the heavens , is a common religious, cosmological , or transcendent place where beings such as gods , angels , spirits, saints , or venerated ancestors are said to originate, be enthroned , or live. According to the beliefs of some religions, heavenly beings can descend to Earth or incarnate , and earthly beings can ascend to heaven in

18231-420: The daily lives of the people, historical chronicles, and the biographies of famous monks; ultimately, a style of emakimono depicting matters outside the palace and called otoko-e ("men's painting"). The Shigisan Engi Emaki (middle of the 12th century), with dynamic and free lines, light colors and a decidedly popular and humorous tone, perfectly illustrate this movement, not hesitating to depict

18408-456: The depictions of yōkai in picture scrolls and paintings beginning to standardize, evolving more into caricatures than fearsome spiritual entities. Elements of the tales and legends surrounding yōkai began to be depicted in public entertainment, beginning as early as the Middle Ages in Japan. During and following the Edo period , the mythology and lore of yōkai became more defined and formalized. The folklorist Tsutomu Ema studied

18585-726: The development of a publishing culture, yōkai depictions that were treasured in temples and shrines were able to become something more familiar to people, and it is thought that this is the reason that even though yōkai were originally things to be feared, they have then become characters that people feel close to. With the Meiji Restoration , Western ideas and translated western publications began to make an impact, and western tales were particularly sought after. Things like binbōgami , yakubyōgami  [ ja ] , and shinigami were talked about, and shinigami were even depicted in classical rakugo . Although

18762-646: The dominant artistic media in Japan since the end of the Kamakura period, it is in the illustration movement of Otogi-zōshi ( otogi meaning "to tell stories") that emakimono developed a new popular vigour in the 15th and 16th centuries (the Muromachi period); the term nara-ehon (literally, "the book of illustrations of Nara ") sometimes designated them in a controversial way (because they were anachronistic and combined books with scrolls), or more precisely as otogi-zōshi emaki or nara-emaki . These are small, symbolic and funny tales, intended to pass

18939-409: The early Church Fathers had done. As a result, he had created a dichotomy of sorts of the natural and supernatural. Though the phrase "supra naturam" was used since the 4th century AD, it was in the 1200s that Thomas Aquinas used the term "supernaturalis". Despite this, the term had to wait until the end of the medieval period before it became more popularly used. The discussions on "nature" from

19116-591: The famous eponymous novel, narrates the political and amorous intrigues of Prince Hikaru Genji ; the rich and opaque colors affixed over the entire surface of the paper ( tsukuri-e method), the intimacy and melancholy of the composition and finally the illustration of the emotional peaks of the novel taking place only inside the Imperial Palace are characteristics of the onna-e subgenre of yamato-e , reserved for court narratives usually written by aristocratic ladies. In that scroll, each painting illustrates

19293-562: The fear arising from phenomena and events that otherwise had no explanation. The ritual for converting ara-mitama into nigi-mitama was known as the chinkon ( 鎮魂 , lit.   ' the calming of the spirits ' or 'requiem') . Chinkon rituals for ara-mitama that failed to achieve deification as benevolent spirits, whether through a lack of sufficient veneration or through losing worshippers and thus their divinity, became yōkai . Over time, phenomena and events thought to be supernatural became fewer and fewer, with

19470-400: The great temples and shrines ( jiin edokoro ), or finally those hosted by a few senior figures. The study of certain colophons and period texts makes it possible to associate many emakimono with these professional workshops, and even sometimes to understand how they function. When produced by the temple workshops, emakimono were intended mainly as proselytism, or to disseminate

19647-425: The idea of rebirth in many schools of Indian religions (particularly Hinduism , Buddhism , Jainism and Sikhism ) as well as Taoism . In these schools, karma in the present affects one's future in the current life, as well as the nature and quality of future lives – one's saṃsāra . In Catholic theology , the supernatural order is, according to New Advent , defined as "the ensemble of effects exceeding

19824-511: The image, sometimes to the point of making the text disappear. The scrolls have a limited height (on average between 30 cm (12 in) and 39 cm (15 in)), compared with their length (on average 9 m (30 ft) to 12 m (39 ft)), meaning that emakimono are therefore limited to being read alone, historically by the aristocracy and members of the high clergy. Handscrolls are believed to have been invented in India before

20001-507: The imperial police ( 検非違使 , kebiishi ) ). The Shigisan Engi Emaki illustrates that point well, as the precision of both religious and aristocratic motifs suggests that the painter is close to those two worlds. Perhaps a more famous artist is Fujiwara no Nobuzane , aristocrat of the Fujiwara clan and author of the Zuijin Teiki Emaki , as well as various suites of realistic portraits ("likeness pictures" ( 似絵 , nise-e ) ,

20178-525: The initiators of the classical emakimono , are to be found at the emperor's court in Heian, among the aristocrats versed in the various arts. Period sources mention in particular painting competitions ( e-awase ) where the nobles competed around a common theme from a poem, as described by Murasaki Shikibu in The Tale of Genji . Their work seems to focus more on the illustration of novels ( monogatari ) and diaries ( nikki ), rather feminine literature of

20355-641: The interior of buildings ( fukinuki yatai ). A second notable example of the onna-e paintings in the Heian period is the Nezame Monogatari Emaki , which appears to be very similar to the Genji Monogatari Emaki , but presents softer and more decorative paintings giving pride of place to the representation of nature subtly emphasising the feelings of the characters. In contrast with court paintings inspired by women's novels ( onna-e ) there are other scrolls inspired by themes such as

20532-604: The islands around the 6th century CE, and probably correspond to illustrated sutra. Thus, the oldest known Japanese narrative painted scroll (or emakimono ) dates from the 7th century to the Nara period: the Illustrated Sutra of Cause and Effect  [ fr ] , which traces the life of the Gautama Buddha , founder of the Buddhist religion, until his Illumination. Still naive in style ( Six Dynasties and early Tang dynasty) with

20709-413: The large number of more or less similar copies on the lives of great monks and the founding of the important temples. Various historians emphasise the use of emakimono in sessions of picture explaining ( 絵 解 , e-toki ) , during which a learned monk detailed the contents of the scrolls to a popular audience. Specialists thus explicate the unusually large dimensions of the different versions of

20886-482: The late Heian period (second half of the 12th century) were already very mature. If almost all emakimono belong to the genre of yamato-e , several sub-genres stand out within this style, including in the Heian period onna-e ("women's painting") and otoko-e ("men's painting"). Several classic scrolls of each genre perfectly represent these pictorial movements. First, the Genji Monogatari Emaki (designed between around 1120 and 1140), illustrating

21063-456: The latter, the scroll kept at the Museum of Fine Arts, Boston remains highly regarded for its mastery of composition (which reaches a crescendo at the dramatic climax of the scroll, i.e. the burning of the palace and the bloody battle between foot soldiers), and for its contribution to present day understanding of Japanese medieval weapons and armour. Akiyama Terukazu describes it as "a masterpiece on

21240-422: The life of the Japanese people in its most insignificant details. Here, the color is applied only in light touches that leave the paper bare, as the supple and free line dominates the composition, unlike the constructed paintings of the court. In addition, the text occupies very limited space, the artist painting rather long scenes without fixed limits. Two other masterpieces emerged into the light of day during

21417-551: The literature and paintings depicting yōkai and henge ( 変化 , lit.   ' changed things/ mutants ' ) , dividing them into categories as presented in the Nihon Yōkai Henge Shi and the Obake no Rekishi : In other folklorist categorizations, yōkai are classified, similarly to the nymphs of Greek mythology, by their location or the phenomena associated with their manifestation. Yōkai are indexed in

21594-466: The literature mentioning and explaining these yōkai , they were never given any visual depictions. In Buddhist paintings such as the Hell Scroll (Nara National Museum) , which came from the later Heian period, there are visual expressions of the idea of oni , but actual visual depictions would only come later in the Middle Ages, from the Kamakura period and beyond. Yamata no Orochi was originally

21771-655: The majority of denominations within Christianity and Islam do not believe that individuals reincarnate, particular groups within these religions do refer to reincarnation; these groups include the mainstream historical and contemporary followers of Cathars , Alawites , the Druze and the Rosicrucians . The historical relations between these sects and the beliefs about reincarnation that were characteristic of Neoplatonism , Orphism , Hermeticism , Manicheanism and Gnosticism of

21948-429: The many enter into complex unity" (Whitehead 1978, 21). It is tempting to emphasize process theism's denial of the supernatural and thereby highlight that the processed God cannot do in comparison what the traditional God could do (that is, to bring something from nothing). In fairness, however, equal stress should be placed on process theism's denial of the natural (as traditionally conceived) so that one may highlight what

22125-434: The men, who studied Chinese writing from a young age, the women adopted a new syllabary , hiragana , which was simpler and more consistent with the phonetics of Japanese. Heian period novels ( monogatari ) and diaries ( nikki ) recorded intimate details about life, love affairs and intrigues at court as they developed; the best known of these is the radical Tale of Genji by Murasaki Shikibu , lady-in-waiting of

22302-521: The modern period, with a growing number of magicians appearing within the esoteric milieu. British esotericist Aleister Crowley described magic as the art of effecting change in accordance with will. Divination (from Latin divinare "to foresee, to be inspired by a god", related to divinus , divine ) is the attempt to gain insight into a question or situation by way of an occultic , standardized process or ritual. Used in various forms throughout history, diviners ascertain their interpretations of how

22479-586: The mumashika, which are comical-looking yokai with horse heads and deer bodies. Yōkai are often referred to as Japanese spirits or East Asian ghosts, like the Hanako-san legend or the story of the " Slit-mouthed girl ", both of which hail from Japanese legend. The term yōkai can also be interpreted as something strange or unusual. Lafcadio Hearn 's collection of Japanese ghost stories entitled Kwaidan: Stories and Studies of Strange Things includes stories of yūrei and yōkai such as Yuki-onna , and

22656-434: The names of the "masters" of emakimono . Moreover, a scroll can be the fruit of collaboration by several artists; some techniques such as tsukuri-e even naturally incline to such collaboration. Art historians are more interested in determining the social and artistic environment of painters: amateurs or professionals, at court or in temples, aristocrats or of modest birth. In the first place, amateur painters, perhaps

22833-462: The narrative scroll until around the 17th century. The Kanō school used narrative scrolls in the same way; Kanō Tan'yū realised several scrolls on the Tokugawa battles, particularly that of Sekigahara in his Tōshō Daigongen Engi , where he was inspired in places by the Heiji Monogatari Emaki (13th century). In essence, an emakimono is a narrative system (like a book) that requires

23010-442: The nekomata (cat yokai) and tanuki (raccoon yokai), resemble Chinese yaoguai, which encompasses any number of shapeshifting animals and plants who have learnt to cultivate human form and other supernatural arts. The cat yokai, for example resembles the Chinese 仙狸 or "leopard cat immortal". Yet others are uniquely Japanese, such as the ambivalent and occasionally cute kappa, the haradashi - a goofy yokai with its belly on its face, and

23187-431: The nobles, especially the ladies interested in the illustration of novels, and seems to have become prevalent early in the 10th century. As with religious painting, the themes of Japanese life, appreciated by the nobles, did not fit well with painting of Chinese sensibility, so much so that court artists developed to a certain extent a new national technique which appeared to be fashionable in the 11th century, for example in

23364-514: The older the time period, the higher the number of phenomena deemed to be supernatural and the result of yōkai . According to Japanese ideas of animism , spirit-like entities were believed to reside in all things, including natural phenomena and objects. Such spirits possessed emotions and personalities: peaceful spirits were known as nigi-mitama , who brought good fortune; violent spirits, known as ara-mitama , brought ill fortune, such as illness and natural disasters. Neither type of spirit

23541-493: The one hand, emakimono had become less inspired, marked by an extreme aesthetic mannerism (such as the exaggerated use of gold and silver powder) with a composition more technical than creative; the tendency to multiply the scenes in a fixed style can be seen in the Hōnen Shōnin Eden  [ fr ] (the longest known emakimono , with 48 scrolls, completed in 1307), the Kasuga Gongen Genki E (1309) and

23718-403: The other hand, from right to left (according to the writing direction of Japanese). In this way, only part of the story can be seen – about 60 centimetres (24 in), though more can be unrolled – and the artist creates a succession of images to construct the story. Once the emakimono has been read, the reader must rewind the scroll again in its original reading direction. The emakimono

23895-478: The outcomes two distinct cognitive domains: one concerned with the physical-mechanical relations and another with social relations. Studies on indigenous groups have allowed for insights on how such coexistence of explanations may function. A deity ( / ˈ d iː ə t i / or / ˈ d eɪ . ə t i / ) is a supernatural being considered divine or sacred . The Oxford Dictionary of English defines deity as "a god or goddess (in

24072-511: The painting techniques of the time, notably the tsukuri-e , but in a more decorative and extroverted style. Other works followed that trend, such as Ise Monogatari Emaki , the Makura no Sōshi Emaki  [ fr ] or the Sumiyoshi Monogatari Emaki . By the end of the Kamakura period, the art of emakimono was already losing its importance. Experts note that, on

24249-402: The paintings arranged in friezes above the text, it is very likely a copy of an older Chinese model, several versions of which have been identified. Although subsequent classical emakimono feature a very different style from that of this work, it foreshadows the golden age of the movement that came four centuries later, from the 12th century CE onwards. The Heian period appears today as

24426-417: The paintings drew their inspiration from both Buddhism and Shinto . The realistic trends that were in vogue in Kamakura art, perfectly embodied by sculpture , were exposed in the majority of the Kamakura emakimono ; indeed, the bakufu shogunate system held power over Japan, and the refined and codified art of the court gave way to more fluidity and dynamism. The greater simplicity advocated in

24603-457: The popularity of kuchisake-onna , these urban legends began to be referred to in mass media as "modern yōkai ". This terminology was also used in recent publications dealing with urban legends, and the researcher on yōkai , Bintarō Yamaguchi  [ ja ] , used this especially frequently. During the 1970s, many books were published that introduced yōkai through encyclopedias, illustrated reference books, and dictionaries as

24780-493: The possibility of a heaven on Earth in a world to come . Another belief is in an axis mundi or world tree which connects the heavens, the terrestrial world and the underworld . In Indian religions , heaven is considered as Svarga loka , and the soul is again subjected to rebirth in different living forms according to its karma . This cycle can be broken after a soul achieves Moksha or Nirvana . Any place of existence, either of humans, souls or deities, outside

24957-404: The powers of the created universe and gratuitously produced by God for the purpose of raising the rational creature above its native sphere to a God-like life and destiny." The Modern Catholic Dictionary defines it as "the sum total of heavenly destiny and all the divinely established means of reaching that destiny, which surpass the mere powers and capacities of human nature." Process theology

25134-436: The prophet's social world and events to come (compare divine knowledge ). Prophecy is not limited to any one culture. It is a common property to all known ancient societies around the world, some more than others. Many systems and rules about prophecy have been proposed over several millennia. In religion and theology , revelation is the revealing or disclosing of some form of truth or knowledge through communication with

25311-488: The recipient. In the Abrahamic religions , the term is used to refer to the process by which God reveals knowledge of himself, his will and his divine providence to the world of human beings. In secondary usage, revelation refers to the resulting human knowledge about God, prophecy and other divine things. Revelation from a supernatural source plays a less important role in some other religious traditions such as Buddhism , Confucianism and Taoism . Reincarnation

25488-405: The rupture of relations with China until the 9th century, due to disorders related to the collapse of the glorious Tang dynasty , promoted what Miyeko Murase has described as the "emergence of national taste" as a truly Japanese culture departed for the first time from Chinese influence since the early Kofun period . This development was first observed in the literature of the Heian women: unlike

25665-560: The same divine principle; and nontheistic religions deny any supreme eternal creator deity but accept a pantheon of deities which live, die and are reborn just like any other being. Various cultures have conceptualized a deity differently than a monotheistic God . A deity need not be omnipotent , omnipresent , omniscient , omnibenevolent or eternal , The monotheistic God, however, does have these attributes . Monotheistic religions typically refer to God in masculine terms, while other religions refer to their deities in

25842-435: The scholastic period were diverse and unsettled with some postulating that even miracles are natural and that natural magic was a natural part of the world. The metaphysical considerations of the existence of the supernatural can be difficult to approach as an exercise in philosophy or theology because any dependencies on its antithesis, the natural , will ultimately have to be inverted or rejected. One complicating factor

26019-511: The scrolls have survived intact, and around 20 are protected as National Treasures of Japan . The term emakimono or e-makimono , often abbreviated as emaki , is made up of the kanji e ( 絵 , "painting") , maki ( 巻 , "scroll" or "book") and mono ( 物 , "thing") . The term refers to long scrolls of painted paper or silk, which range in length from under a metre to several metres long; some are reported as measuring up to 12 metres (40 ft) in length. The scrolls tell

26196-411: The scrolls up to the 10th century CE, remain little known to this day, because they were overshadowed by the famous landscape scrolls of the Song dynasty . Relations with East Asia (mainly China and Korea) brought Chinese writing ( kanji ) to Japan by the 4th century, and Buddhism in the 6th century, together with interest in the apparently very effective bureaucracy of the mighty Chinese Empire . In

26373-422: The search for Chinese spiritual greatness. The first Japanese themes in the Heian period were very closely linked to waka literature and poetry: paintings of the seasons, the annual calendar of ceremonies, the countryside and finally the famous landscapes of the Japanese archipelago ( meisho-e  [ fr ] ). Subsequently, the Kamakura warriors and the new Pure Land Buddhist sects diversified

26550-537: The seasonal landscapes of the panel paintings in the Phoenix Hall ( 鳳凰堂 , Hōō-dō ) or Amida Hall at the Byōdō-in temple, a masterpiece of primitive yamato-e of the early 11th century. Experts believe that yamato-e illustrations of novels and painted narrative scrolls, or emakimono , developed in the vein of this secular art, linked to literature and poetry. The painting technique lent itself fully to

26727-486: The second half of the 12th century. First, the Chōjū-jinbutsu-giga forms a monochrome sketch in ink gently caricaturing the customs of Buddhist monks, where the spontaneity of touch stands out. Secondly, the Ban Dainagon Ekotoba tells of a political conspiracy in the year 866 by offering a surprising mixture of the two genres onna-e and otoko-e , with free lines and sometimes light, sometimes rich and opaque colors; this meeting of genres foreshadows

26904-418: The seeming dichotomy between the natures of them and most kami , which are generally regarded as relatively beneficent in comparison, and class the two as ultimately the same type of spirits of nature or of a mythological realm. Their behavior can range from malevolent or mischievous to benevolent to humans. Yōkai often have animal-like features (such as the kappa , depicted as appearing similar to

27081-415: The slow maturation of the movement of emakimono was closely linked to the emergence of Japanese culture and literature, as well as to the interest of ladies soon joined by professional painters from palace workshops ( e-dokoro ) or temples, who created a more "professional" and successful technique. The art historians consider that the composition and painting techniques they see in the masterpieces of

27258-406: The spiritual principle of cause and effect where intent and actions of an individual (cause) influence the future of that individual (effect). Good intent and good deeds contribute to good karma and future happiness, while bad intent and bad deeds contribute to bad karma and future suffering. With origins in ancient India 's Vedic civilization , the philosophy of karma is closely associated with

27435-434: The story in a somewhat disproportionate way compared with emakimono of the standard sizes, to enable those protagonists to be seen from a distance, in a typically Japanese non-realistic perspective (such as the Ippen Shōnin Eden ). The religious emakimono of the Kamakura period focus on the foundation of the temples, or the lives of famous monks. During that period, many of the religious institutions commissioned

27612-476: The style that dominated a few decades later, during the Kamakura period . While the authority of the court rapidly declined, the end of the Heian period (in 1185) was marked by the advent of the provincial lords (in particular, the Taira and the Minamoto ), who acquired great power at the top of the state. Exploiting the unrest associated with the Genpei War , which provided fertile ground for religious proselytism,

27789-525: The subject of the world's military." In the same spirit, a noble warrior had the Mōko Shūrai Ekotoba designed to recount his military exploits during the Mongol invasions of Japan . Kamakura art particularly flourished in relation to realistic portraiture ( nise-e ); if the characters in the emakimono therefore evolved towards greater pictorial realism, some, such as the Sanjūrokkasen emaki , or

27966-610: The subjects even more widely. Despite the wide range of emakimono themes, specialists like to categorise them, both in substance and in form. An effective method of differentiating emakimono comes back to the study of the subjects by referring to the canons of the time. The categorisation proposed by Okudaira and Fukui thus distinguishes between secular and religious paintings: A third category covers more heterogeneous works, mixing religion and narration or religion and popular humour. The authors of emakimono are most often unknown nowadays and it remains risky to speculate as to

28143-538: The supernatural (a number of otogi-zōshi emaki depict all sorts of yōkai and folk creatures), as well as social caricatures and popular novels. Among the preserved examples are genre paintings such as Buncho no sasshi and Sazare-ichi , or supernatural Buddhist tales such as the Tsuchigumo Sōshi or the Hyakki Yagyō Emaki  [ fr ] . From the point of view of art historians,

28320-475: The tangible world (Heaven, Hell, or other) is referred to as otherworld . The underworld is the supernatural world of the dead in various religious traditions, located below the world of the living. Chthonic is the technical adjective for things of the underworld. The concept of an underworld is found in almost every civilization and "may be as old as humanity itself". Common features of underworld myths are accounts of living people making journeys to

28497-1130: The temple of every living being's body, as sensory organs and mind. Deities have also been envisioned as a form of existence ( Saṃsāra ) after rebirth , for human beings who gain merit through an ethical life, where they become guardian deities and live blissfully in heaven , but are also subject to death when their merit runs out. An angel is generally a supernatural being found in various religions and mythologies . In Abrahamic religions and Zoroastrianism , angels are often depicted as benevolent celestial beings who act as intermediaries between God or Heaven and Earth . Other roles of angels include protecting and guiding human beings and carrying out God's tasks. Within Abrahamic religions, angels are often organized into hierarchies , although such rankings may vary between sects in each religion, and are given specific names or titles, such as Gabriel or " Destroying angel ." The term "angel" has also been expanded to various notions of spirits or figures found in other religious traditions. The theological study of angels

28674-423: The term has shifted over the history of its use. Originally the term referred exclusively to Christian understandings of the world. For example, as an adjective, the term can mean "belonging to a realm or system that transcends nature, as that of divine, magical, or ghostly beings; attributed to or thought to reveal some force beyond scientific understanding or the laws of nature; occult, paranormal" or "more than what

28851-456: The third century AD influenced the development of the concept of the supernatural, which later evolved through Christian theology . The term nature had existed since antiquity, with Latin authors like Augustine using the word and its cognates at least 600 times in City of God . In the medieval period, "nature" had ten different meanings and "natural" had eleven different meanings. Peter Lombard ,

29028-435: The time focusing on mythology, folklore, legends, religious beliefs or even contemporary society. This particular form of emakimono dates back to Heian times, but it was under Muromachi that it gained real popularity. The relative popularity of otogi-zōshi seems to have stemmed from a burgeoning lack of enthusiasm for hectic or religious stories; the people had become more responsive to themes of dreams, laughter and

29205-448: The underworld , often for some heroic purpose. Other myths reinforce traditions that entrance of souls to the underworld requires a proper observation of ceremony, such as the ancient Greek story of the recently dead Patroclus haunting Achilles until his body could be properly buried for this purpose. Persons having social status were dressed and equipped in order to better navigate the underworld. A number of mythologies incorporate

29382-463: The word yōkai has taken on multiple different meanings particular to a Japanese context, including referring to a large number of uniquely Japanese creatures. Yōkai are also referred to as ayakashi ( あやかし ) , mononoke ( 物の怪 ) or mamono ( 魔物 ) . However, most Japanese generally think of the two loose classes of spirits as highly different, although some academics and Shinto practitioners acknowledge similarities within

29559-617: The words and what they refer to, they are not able to imagine it as something that could be realistic. Thus, the modernization of society has had a negative effect on the place of yōkai in classical Japanese culture. On the other hand, the yōkai introduced through mass media are not limited to only those that come from classical sources like folklore, and just as in the Edo period, new fictional yōkai continue to be invented, such as scary school stories and other urban legends like kuchisake-onna and Hanako-san , giving birth to new yōkai . From 1975 onwards, starting with

29736-506: The workshops of painters (often monk-painters) to create emakimono recounting their foundation, or the biography of the founding monk. Among the best-known works on such themes are the illustrated biographies of Ippen , Hōnen  [ fr ] , Shinran  [ fr ] and Xuanzang , as well as the Kegon Engi Emaki and the Taima Mandara Engi Emaki  [ fr ] . The Ippen biography, painted by

29913-405: The 怪 guai, or on their monstrous and aberrant nature and anatomy. Japanese yokai in popular culture often includes elements of the cute, comical, the goofy, and the bizarre. Some creatures appear in both Chinese and Japanese folklore as yaoguai and yokai, such as the scaly water shuihu (水虎), wilderness demons denoted as chimeiwangliang (魑魅魍魉), and nine-tailed fox demons (九尾狐). Some, such as

30090-508: Was a time period where publications such as emakimono , Otogi-zōshi , and other visual depictions of yōkai started to appear. While there were religious publications such as the Jisha Engi ( 寺社縁起 ) , others, such as the Otogizōshi , were intended more for entertainment, starting the trend where yōkai became more and more seen as subjects of entertainment. For examples, tales of yōkai extermination could be said to be

30267-564: Was considered to be yōkai . One's ancestors and particularly respected departed elders could also be deemed to be nigi-mitama , accruing status as protective spirits who brought fortune to those who worshipped them. Animals, objects and natural features or phenomena were also venerated as nigi-mitama or propitiated as ara-mitama depending on the area. Despite the existence of harmful spirits, rituals for converting ara-mitama into nigi-mitama were performed, aiming to quell maleficent spirits, prevent misfortune and alleviate

30444-503: Was especially in secular art that the nascent yamato-e was felt most strongly; its origins went back to the sliding partitions and screens of the Heian Imperial Palace , covered with paintings on paper or silk, the themes of which were chosen from waka court poetry, annual rites, seasons or the famous lives and landscapes of the archipelago ( meisho-e  [ fr ] ). This secular art then spread among

30621-424: Was in this era that the technology of the printing press and publication was first started to be widely used, that a publishing culture developed, and was frequently a subject of kibyoshi and other publications. As a result, kashi-hon shops that handled such books spread and became widely used, making the general public's impression of each yōkai fixed, spreading throughout Japan. For example, before

30798-407: Was loosely remade in 2005 as Takashi Miike 's The Great Yokai War and more recently Yukinobu Tatsu 's Dandadan . They often play major roles in Japanese fiction. Japanese supernatural beings Japanese museums on the supernatural Other supernatural beings from East Asian folklore Lists of supernatural creatures from East Asian folklore Supernatural The supernatural

30975-512: Was nevertheless maintained by the Tosa school : the only one still to claim the yamato-e , it produced many emakimono to the order of the court or the temples (this school of painters led the imperial edokoro until the 18th century). Tosa Mitsunobu notably produced several works on the foundation of temples: the Kiyomizu-dera Engi Emaki  [ fr ] (1517), a scroll of

31152-402: Was spreading very widely due to the importance given both to the freedom of brush strokes and the lightness of the tones ( otoko-e ), as well as bright colors rendered by thick pigments for certain elements of the scenes ( onna-e ). However, the very refined appearance of the court paintings later gave way to more dynamic and popular works, at least in relation to the theme, in the manner of

31329-409: Was used with negative connotations, to apply to religious rites that were regarded as fraudulent, unconventional and dangerous. This meaning of the term was then adopted by Latin in the first century BC. The concept was then incorporated into Christian theology during the first century AD, where magic was associated with demons and thus defined against religion. This concept was pervasive throughout

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