Tsukumogami

Template:Short description In Japanese folklore, tsukumogami (付喪神 or つくも神,Template:Sfnp lit. "tool kami") are tools that have acquired a kami or spirit.Template:Sfnp According to an annotated version of The Tales of Ise titled Ise Monogatari Shō, there is a theory originally from the Onmyōki (陰陽記) that foxes and tanuki, among other beings, that have lived for at least a hundred years and changed forms are considered tsukumogami.Template:Sfnp In modern times, the term can also be written 九十九神 (literally ninety-nine kami), to emphasize the agedness.

According to Komatsu Kazuhiko, the idea of a tsukumogami or a yōkai of tools spread mostly in the Japanese Middle Ages and declined in more recent generations. Komatsu infers that despite the depictions in Bakumatsu period ukiyo-e art leading to a resurfacing of the idea, these were all produced in an era cut off from any actual belief in the idea of tsukumogami.Template:Sfnp

Because the term has been applied to several different concepts in Japanese folklore, there remains some confusion as to what the term actually means.Template:SfnpTemplate:Sfnp Today, the term is generally understood to be applied to virtually any object "that has reached its 100th birthday and thus become alive and self-aware",Template:Sfnp though this definition is not without controversy.Template:SfnpTemplate:SfnpTemplate:Sfnp

History and etymology

File:Tsukukogami-Bakemono-Print-Shigekiyo.jpg

Woodblock print, A New Collection of Monsters 新板化物つくし, 1860

File:Katsushika Hokusai - The Lantern Ghost, Iwa - Google Art Project.jpg

Hokusai, The Lantern Ghost, 1826/1837

The word つくも髪, which is also pronounced , appeared in a waka poem in the 9th-century The Tales of Ise, section 63. It is a compound of , of unknown meaning, and 髪 'hair'. In the poem, it referred to an old woman's white hair, so has been interpreted as meaning "old", often metaphorically represented as ninety-nine years.Template:Sfnp

The element 髪 'hair' is a homophone of 神 'spirit'; both may be pronounced in compound words. Thus the word has come to mean a 99-year spirit. The kanji representation for in this sense dates to a Tenpō period otogizōshi, an emakimono called the Tsukumogami Emaki. According to this emaki, a tool, after the passage of 100 years, would develop a spirit (kami), and with this change would become a . This emaki has a caption stating that the word could also be written with the kanji , meaning 'ninety-nine' (years).

Outside of these uses, the word is not attested in the surviving literature of the time, and so the historical usage of the term itself has not been handed down in detail. The concept, however, does appear elsewhere. In collections such as the late Heian period Konjaku Monogatarishū, there are tales of objects having spirits, and in the emakimono Bakemono Zōshi, there are tales of a chōshi (a saké serving-pot), a scarecrow, and other inanimate objects turning into monsters, but the word itself does not appear.

The Tsukumogami Emaki describes how an object would become occupied by a spirit after one hundred years, By doing this, they prevented objects from becoming tsukumogami, but according to the captions of this emaki, it's written that ones that are "a year from one hundred," in other words, objects that are "tsukumo" (ninety-nine) years old would become angered and become a yōkai by some means other than the mere passage of time, and then cause a ruckus.Template:SfnpTemplate:Sfnp

In the first place, the idea of becoming a yōkai at one-hundred or ninety-nine years old does not need to be taken literally. Those numbers can represent the idea that humans, plants, animals, or even tools would acquire a spiritual nature once they become significantly old, and thereby gain the power to change themselves.Template:SfnpTemplate:Sfnp Writing tsukumo as 九十九 ("ninety-nine") is not simply referring to a number, since the word was used since old times to loosely mean "many". The yōkai that are depicted are not ones that gained the power to change themselves as a result of being used for a long time, but rather ones that were thrown away right before it, becoming a yōkai through some different means.Template:Sfnp

Paintings

In the Tsukumogami Emaki, which depicted tsukumogami, it is written at the very beginning, "It's told in the Onmyō Zakki. A tool, after one hundred years pass, would change and acquire a spirit, and deceive people's hearts, and it's said these are referred to as tsukumogami," thus referring to changes or mutations of tools as "tsukumogami" (however, no book called the Onmyō Zakki has actually been confirmed to exist).Template:Sfnp In the emaki, it's written that they can take on "the appearance of people male and female, old and young" (appearance of humans), "the likeness of chimi akki" (appearance of oni), and "the shape of korō yakan" (the appearance of animals), among others. Its form after its change/mutation is referred to with words such as "youbutsu" ().

Even in emakimono that came before the Tsukumogami Emaki, paintings of yōkai based on tools can be confirmed, and in the Tsuchigumo Zōshi, there were depictions of gotoku (trivets) with heads, stamp mills with the body of a snake and two human arms attached to it, and a tsunodarai (four-handled basin) with a face and growing teeth, among others. Also, a face that appears to be what the tsunodarai is based on appears in the Yūzū Nenbutsu Engi Emaki (融通念仏縁起絵巻) and the Fudō Rieki Engi Emaki () where a yakugami with almost the same appearance appears. However, all of these were not merely tools, but ones that are a hybrid with a tool or oni. This characteristic can also be seen in the Tsukumogami Emaki and the Hyakki Yagyō Emaki.Template:Sfnp

File:Hyakki-Yagyo-Emaki Tsukumogami 1.jpg

The Hyakki Yagyō Emaki from the Muromachi period, author unknown. They are yōkai of tools, so they are commonly thought of as tsukumogami.

The Hyakki Yagyō Emaki (百鬼夜行絵巻) from the Muromachi period also depicts many of what appear to be yōkai of tools. In the present day, these tools yōkai are thought to be depictions of tsukumogami, and it has been inferred that the parade depicted in the Hyakki Yagyō Emaki is likely the "youbutsu" (aged objects) of the Tsukumogami Emaki in a festival parade.Template:Sfnp

Works about tools

In works about tools having a human personality, tools such as the "chōdo uta-awase" that would perform uta-awase can be found before the Muromachi period, and it is thought that these are close in concept to being the idea of "things that tools turn into" as depicted in the Tsukumogami Emaki.Template:Sfnp

Understood by many Western scholars,Template:Sfnp tsukumogami was a concept popular in Japanese folklore as far back as the tenth century,Template:Sfnp used in the spread of Shingon Buddhism.Template:Sfnp

In Japanese folklore

According to Elison and Smith (1987), Tsukumogami was the name of an animated tea caddy that Matsunaga Hisahide used to bargain for peace with Oda Nobunaga.Template:Sfnp

Like many concepts in Japanese folklore, there are several layers of definition used when discussing Tsukumogami.Template:Sfnp For example, by the tenth century, the Tsukumogami myths were used in helping to spread the "doctrines of Shingon Esoteric Buddhism to a variety of audiences, ranging from the educated to the relatively unsophisticated, by capitalizing upon pre-existing spiritual beliefs in Tsukumogami."Template:Sfnp These "pre-existing spiritual beliefs" were, as Reider explains:

Tsukumogami are animate household objects. An otogizōshi ("companion tale") titled Tsukumogami ki ("Record of tool kami"; Muromachi period) explains that after a service life of nearly one hundred years, utsuwamono or kibutsu (containers, tools, and instruments) receive souls. While many references are made to this work as a major source for the definition of tsukumogami, insufficient attention has been paid to the actual text of Tsukumogami ki.Template:Sfnp

By the twentieth century the Tsukumogami had entered into Japanese popular culture to such an extent that the Buddhist teachings had been "completely lost to most outsiders,"Template:Sfnp leaving critics to comment that, by and large, the Tsukumogami were harmless and at most tended to play occasional pranks, they did have the capacity for anger and would band together to take revenge upon those who were wasteful or threw them away thoughtlessly – compare mottainai. To prevent this, to this day some jinja ceremonies are performed to console broken and unusable items.

List of tsukumogami

• Abumi-guchi – A furry creature formed from the stirrup of a mounted soldier who died in battle
• Bakezōri – A possessed zōri (traditional straw sandals)
• Biwa-bokuboku – An animated biwa
• Boroboroton – A possessed futon
• Byōbunozoki - A possessed folding screen
• Chōchin'obake – An animated lantern, also known as burabura
• Furu-utsubo - An archer's quiver
• Ichiren-bozu – Animated prayer beads
• Ittan-momen – A roll of cotton
• Jatai – Possessed cloths draped from folding screens
• Kameosa – A possessed sake jar
• Kasa-obake – An animated paper umbrella. Also known as karakasa-obake.
• Kosode-no-te – A possessed kimono robe
• Koto-furunushi – An animated koto
• Kurayarō – An animated saddle
• Kutsutsura - Kutsutsura are tsukumogami of shoes. They can take either a human form or an animal form. In human form, they look like a court noble wearing a shoe as a hat. In animal form, they appear as a round, hairy beast with a fur boot for a snout.
• Kyōrinrin – Possessed scrolls or papers
• Menreiki – A spiritual creature formed out of 66 gigaku masks
• Minowaraji- An animated mino straw coat
• Morinji-no-kama – A possessed teakettle. Another variation is zenfushō
• Shamichoro – An animated shamisen
• Shirōneri – Possessed mosquito nettings or dust clothes
• Shōgorō – An animated gong
• Ungaikyō – A possessed mirror
• Yamaoroshi – A possessed vegetable grater
• Zenfushō - A possessed teakettle
• Zorigami – A possessed clock

See also

• Hyakkai Zukan
• List of legendary creatures from Japan

References

Sources

• 『室町時代物語大成』第9巻（たま-てん）角川書店
• 平出鏗二郎 編校訂『室町時代小説集』 1908年 精華書院

Further reading

• Kabat, Adam. "Mono"" no obake: Kinsei no tsukumogami sekai. IS 84 (2000): 10–14.
• Kakehi, Mariko. Tsukumogami emaki no shohon ni tsuite. Hakubutsukan dayori 15 (1989): 5–7.
• Keene, Donald. Seeds in the Heart: Japanese Literature from Earliest Times to the Late Sixteenth Century. New York: Henry Holt & Co. (1993)
• Kyoto Daigaku Fuzoku Toshokan. Tsukumogami http://edb.kulib.kyoto-u.ac.jp/exhibit/tsuroll/indexA.html and http://edb.kulib.kyoto-u.ac.jp/exhibit/tsuroll/indexB.html
• Lillehoj, Elizabeth. Transfiguration : Man-made Objects as Demons in Japanese Scrolls. Asian Folklore Studies, Volume 54 (1995): 7–34.
• National Geographic. National Geographic Essential Visual History of World Mythology. National Geographic Society (U.S.) (2008)
• Shibata, Hōsei. Tsukumogami kaidai. In Kyoto Daigaku-zō Muromachi monogatari, ed. Kyoto Daigaku Kokugogaku Kokubungaku Kenkyūshitsu, vol. 10, 392–400. Kyoto: Rinsen Shoten. (2001)