Ameonna

Accounts are layered: Toriyama Sekien illustrated an ameonna in his Konjaku Hyakki Shūi and linked the image to a Chinese literary motif (the phrase 朝雲暮雨, "morning cloud, evening rain"), leading scholars to suggest Sekien may have adapted or invented the figure with literary allusion or satirical intent. Folk explanations recorded in secondary sources present alternative local origins: some traditions treat rain-women as former deities or as women transformed by grief (one idea held that women who had lost infants might become rain-women). A regional Nagano figure called Ameonba is described in local lore as either a fallen god-turned-yōkai or an eerie woman who appears on rainy nights; these localized stories indicate multiple, sometimes competing, origin ideas rather than a single authoritative creation myth.

The best-attested visual depiction is Toriyama Sekien's illustration, which shows a woman standing in the rain and licking her hand. Other appearance motifs appear only in regional or speculative accounts: a Nagano-area Ameonba is described in local sources as an eerie woman who appears on rainy nights; another folkloric suggestion (presented as one among several variants) describes women who lost infants as appearing before crying children carrying a large sack. The sack/carrying motif and child-related imagery are regional or associative variants and are not part of Sekien's pictured form.

Primary attributed ability is to cause or call forth rain. Sources present two main behavioral frames: (1) a bothersome or jinxing yōkai — in modern usage ameonna/ameotoko is a label for an unlucky person around whom rain seems to collect and who is blamed for ruining outdoor events; and (2) a beneficent rain-bringer — in some accounts the figure is considered a rain god or yōkai who can save people by producing rain during drought. Regional variants (e.g., the Nagano Ameonba) attribute more threatening behaviors such as child-kidnapping in local tales, but those accounts are explicitly local and not presented as universal ameonna traits. Scholarly readings of Sekien's text also treat the image as literary or satirical rather than as documentation of a preexisting uniform folkloric repertoire.