Byōbunozoki originates as an entry in Toriyama Sekien's illustrated bestiary Konjaku Hyakki Shūi (late 18th century). Sekien included many brief, often punning or literarily allusive yōkai entries that rework or index classical and domestic images into singular supernatural beings; the Byōbunozoki is one such artistic/literary creation tied to the household object byōbu (folding screen). Modern summaries of Sekien's commentary present the creature as a being that looks from outside a folding screen into an interior, and Sekien's practice of drawing on earlier literary and historical sources (including an explicit comparative reference to an anecdote from Chinese classics about a ruler and a palace screen) situates the image within a literary-visual mode rather than an ethnographic account of widespread oral belief (sources: Konjaku Hyakki Shūi entry as summarized on Wikipedia; Wikidata).
Sekien's entry and the surviving summaries provide no detailed corporeal description beyond the creature's position and action. The primary descriptive element in the cited sources is that the Byōbunozoki "looks at a person from the outside of a folding screen" and "looks beyond the 7-inch folding screen" (as given in Sekien's commentary as summarized in modern references). No explicit notes on size, color, form, or other physical attributes are preserved in the referenced materials, so the image in the source functions mainly as a pictorial/behavioral motif rather than a fleshed-out anatomical description (sources: Konjaku Hyakki Shūi commentary summarized on Wikipedia; Wikidata).
The only documented action recorded in Sekien's commentary is visual intrusion: the Byōbunozoki peers from outside a byōbu and looks into the screened space. The cited sources limit the creature's attributed activity to this act of peering; they do not provide accounts of speech, possession, violence, or other supernatural effects in connection with the Byōbunozoki. Any further powers or interactions are not recorded in the provided material (sources: Konjaku Hyakki Shūi entry as summarized on Wikipedia; Wikidata).
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]Byōbunozoki (Wikipedia). Wikipedia, article 'Byōbunozoki' — summary of Toriyama Sekien commentary in Konjaku Hyakki Shūiwiki
- [2]Byōbunozoki (Wikidata). Wikidata item Q11465717 — identification of Byōbunozoki as a Japanese monster painted by Toriyama Sekienwiki
- [3]Konjaku Hyakki Shūi (Wikipedia). Wikipedia, article 'Konjaku Hyakki Shūi' — context for Sekien's bestiary and its literary/visual modewiki
