Accounts of Amenohoakari's origins vary across classical Japanese texts. In the Kojiki and in volumes six and eight of the Nihon Shoki he is listed as born to Ame-no-oshihomimi and Takuhatachijihime and is presented with Ninigi-no-Mikoto as his younger brother. Contradictorily, other Nihon Shoki volumes (two, three, five, and seven) describe Ninigi as Amenohoakari's father. The Kujiki at times treats Amenohoakari as an alternate name or conflation with Nigihayahi, an ancestral kami of the Hozumi and Mononobe clans, while the Harima no Kuni Fudoki records him as a child of Ōkuninushi and Notsuhime. These divergent genealogies reflect textual plurality and local or clan-based reworking of descent lines rather than a single coherent origin narrative in the provided sources.
The supplied sources do not record a consistent physical description or conventional iconography for Amenohoakari; classical genealogical texts emphasize his name, functions, and lineage rather than anthropomorphic detail. What is attested in cultic practice is his enshrinement at multiple Shinto sites (for example Kono Shrine, Masumida Shrine, Sumiyoshi-taisha associations, Osada Nimasu Amateru Mitami Shrine, Owaribe Shrine, Tanabata Shrine and various Amateru Mitama shrines), and hereditary priesthoods tied to clans claiming his descent, but textual sources cited do not provide ritual iconographic specifications.
Textual etymology and cult function portray Amenohoakari primarily as the deification of sunlight and heat with a specific agricultural role: warming and ripening ears of grain, particularly rice. Through this function he is implicated in crop fertility and the ritual economy of agriculture. Equally significant in the sources is his role as a divine ancestor whose descendants form tensonzoku lineages; several clans (for example those associated with Owari, Kaifu, and others named in shrine traditions) claim descent and inherited priestly offices tied to his cult. The provided materials do not enumerate miracle narratives, magical feats, or episodic behaviors beyond these agricultural and genealogical roles.
5 Ronin
5 Ronin is a 2011 Marvel Comics five-issue limited series that reimagines five Marvel superhero archetypes as rōnin (masterless samurai) in a fictionalized post‑Sekigahara feudal Japan. The work places Wolverine, Hulk, Punisher, Psylocke, and Deadpool analogues into period roles to explore displacement, revenge, and identity in an era of political upheaval.
Abumi-guchi
A Japanese yōkai classed as a tsukumogami: an animated stirrup (abumi) depicted in Sekien Toriyama's Gazu Hyakki Tsurezure Bukuro. Traditional accounts say it is formed from a stirrup that belonged to a soldier who fell in battle and that it waits where the stirrup lies for its dead owner to return.
Abura-akago
An Edo-period yōkai depicted as an oil‑licking infant or a ball of flame. First recorded in illustrated compendia (notably Toriyama Sekien's Konjaku Gazu Zoku Hyakki), the Abura-akago is tied to tales of oil‑stealing fires and functions in part as an etiological warning about wasting or stealing oil.
Abura-sumashi
A yōkai spirit from the Amakusa region of Kumamoto Prefecture, Japan, said to inhabit mountain passes. Traditionally explained as the ghost of a person who stole oil, it appears to surprise travelers and is represented in modern media with a straw-coat body and a potato- or stone-like head.
Aburabō / Abura-bōzu / Aosaginohi (traditions)
Two distinct Japanese traditions appear under related flame imagery: Aosaginohi/Aosagibi is presented as a will-o'-the-wisp type luminous night phenomenon interpreted as reflections from herons; aburabōzu (abura bōzu, "oil monk") appears in a separate anecdote as a reported fire-breathing apparition in a 12th-century Yasaka Shrine tale. The sources treat them as separate portrayals rather than a single unified being.
Acala
Acala (Sanskrit: अचल, 'The Immovable') is a wrathful protective deity (dharmapala) in Vajrayāna and East Asian esoteric Buddhism, classed among the Wisdom Kings (Vidyārāja). He functions as a ritual focus for visualization and mantra practice intended to remove obstacles and bind or destroy hostile forces.
Agaru
Agaru (attested historically as Agarum) appears in the supplied sources as a Bronze Age Near Eastern toponym—often identified with Failaka Island—and as a modern personal or media name. The provided material contains no evidence that Agaru is a supernatural being in any traditional cosmology.
Ajisukitakahikone
Ajisukitakahikone is a kami in Japanese mythic literature (Kojiki/Nihon Shoki). He appears in the transfer-of-rule cycle between heaven and earth, is described as a son of Ōkuninushi, associated with the Kamo cult (called Kamo no ōmikami in some modern museum/catalog entries), and features in narratives that explain landscape formation and meteorological genealogy.
Aka Manto
Aka Manto (赤マント, "Red Cloak") is a Japanese urban legend and schoolyard ghost-story about a masked, cloaked figure who appears in public or school toilet stalls and forces occupants to choose between colored toilet paper; each choice in the tale produces a violent supernatural consequence. The legend is part of modern popular folklore recorded in school contexts from the 1930s onward rather than a formal religious myth.
Akaname
Akaname is a Japanese yōkai associated with baths, bathtubs, toilets, and other places where scum and filth accumulate. Traditionally depicted as a child-like creature that licks grime, it functions in folklore as a cautionary figure tied to cleanliness; a few narrative variants cast it as dangerously predatory.
Akashaguma
Akashaguma is presented in the available sources as a child-like house guardian spirit in the Japanese yokai tradition, closely comparable to the regional zashiki-warashi. It is associated with domestic interiors (parlors or storage rooms) and with bringing prosperity to households where it dwells.
Akashita
Akashita (赤舌, lit. “red tongue”) is an Edo-period pictorial yōkai commonly represented as a hairy, clawed face emerging from dark clouds with a wide open mouth and a conspicuous red tongue. The figure appears in yōkai emaki and Toriyama Sekien’s Gazu Hyakki Yagyō; Sekien’s plate shows it atop a sluice, but the original pictorial tradition provides no explanatory caption. Later folklorists and popular writers (Shōwa and later) have variously interpreted the image as a punitive spirit linked to irrigation/floodgate justice or as a kidnapper in evening skies, though these narrative roles are post-hoc.
Community Record
- [1]Amenohoakari — Wikipedia. Wikipedia: Amenohoakariwiki
- [2]Hoakari — Wikidata Q10940411. Wikidata: Hoakari (Q10940411)wiki