Yokai: Japanese Folklore and Cultural Patterns

Running head: ENGLISH-JAPANESE CULTURE
ENGLISH-JAPANESE CULTURE
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Introduction
The cultural patterns of Japan has changed significantly over the millennia, from nation’s
prehistoric Jomon period and further ranging to modern cultural patterns. Bainbridge (2014) has
noted that these cultural patterns tend to absorb influences from Asia, Europe and North
America. Yokai are identified as a section of supernatural monsters, spirits and demons in
Japanese folklore. According to Inaba (2015), the term ‘yokai’ is comprised of kanji for
bewitching, attractive, misfortune, ambiguity and apprehensive. Comprehensive studies of
Suzuki (2019) have noted that Yokai typically possess animal attributes primarily based on
kappa which draws similarity to turtle or tengu which has wings, yet others appear significantly
human. The word “Yokai’ is an amalgamation of the characters 妖 (yō) which means
attractive, bewitching, misfortune and the other hand the word 怪 (kai) relates to anonymity
and wonder. As per the studies of Bainbridge (2014), Japanese folk tales is regarded as a
combination of diverse ethnicities and cultural patterns with a significant base in the folk beliefs
of secluded tribal populaces living on the areas of Japanese islands. These customs have been
customized by Shinto and afterward by Buddhism thus integrating components derived from
Chinese as well as Indian folklore. The following research paper will evaluate the cultural
patterns by shedding lights on their traditions, festivals and beliefs.
Discussion
Yokai’s Origin
The Edo period ranged from 1603 to 1868 had experienced exceptional and unmatched
booming of art, music, and literature in Japan. Jensen, Ishii and Swift (2016) have noted that

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ghost stories and narratives regarding gigantic creatures, monsters and strange phenomena from
all arenas of Japanese cultural patterns have experienced a significant flow in recognition.
Folklorists and artists such as Toriyama Sekien had integrated the mythical bestiaries.
Moreover, Martinez (2015) has noted that these artists and folklores have obtained the oral
traditions and cultural patterns of pastoral Japan for utilization by the increasing urban populace
and further amalgamated a few novel behemoths into the cultural combination. These cultural
amalgamations initiated as gatherings of highlighted documents and eventually extended into
multi-volume exemplified encyclopaedias of eccentric tales as well as mystical narratives.
Research conducted by authors on Yokai tradition has revealed that Toriyama’s The Illustrated
Night Parade of One Hundred Demons established the platform for other performers that led the
yokai tradition to significantly emerge (Yasui, 2017). It has been noted that the Yokai culture
rapidly prolonged into every facet of Japanese philosophy ranging from fine talent to high theatre
and from noble ghost story-telling associations to low class bawdlery. On the other hand,
Bainbridge (2014) has shed light on the period when Yokai shifted from the popularity during
the Meiji restoration, after Japan underwent speedy modernization process in its society,
traditions and culture. Yokai culture had been severely abandoned as a remnant of a superstitious
and upsetting past. According to Jensen, Ishii and Swift (2016), subsequent to World War II,
manga artist Shigeru Mizuki rediscovered their fascination and magnetism and further re-
introduced Yokai cultural patterns to a contemporary Japan. In recent times, the inspiration of
yokai can be observed in varied characteristics of Japanese beliefs, which can range from manga
and anime, extend to video games, product labels, and further on Japanese currency.
What are Yokais?

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Tengu- Tengu also known as the 天狗, "heavenly dog have been identified as a form of
legendary creature that can be found in Japanese folk religion and further considered as a type of
Shinto god (kami) or yōkai (supernatural beings). However, according to Martinez (2015), while
Tengu derived their identity from a dog-like Chinese demon (Tiangou), the tengu name have
been initially considered to acquire the forms of birds of prey and have been traditionally
depicted with human as well as avian distinctiveness. Some of the earliest representations of
tengu tend to appear in Japanese picture scrolls related to Tenguzōshi Emaki (天狗草子絵巻)
that has been painted in the year 1296 (Jensen, Ishii & Swift, 2016). These pictures tend to
takeoff prominent priests by bestowing them the hawk-like beaks of tengu demons. Tengu have
been recognized as bird monsters which show the capacity to attain human forms. However, in
the views of Whitsed and Wright (2016), while they are recognized to be dangerous, develop the
role of protectors of forests and mountains.
Kappa- Kappa has been typically identified as aquatic reptilian humanoids that inhabit the rivers
and streams found at various parts of Japan. The Kappa has been viewed as river monsters based
on giant salamanders. However, in the view of Yasui (2017) they can show certain problematic
characteristics but also exhibit good characteristics. They have been recognized to get pleasure
from good sumo wrestling matches.
Obake-In the Hyakki Yagyo Emaki from the Muromachi period, yōkai who have been
considered as umbrellas could be perceived, but in this emaki. According to authors, it had been
a humanoid yokai which merely had an umbrella on its head, and thus had a different appearance
in comparing to resembling a kasa-obake (Suzuki , 2019). However, Obake have been regarded
as terms for creature that comprise the ability to develop into human forms.