The Japanese culture is absolutely fascinating and stretches over tens of thousands of years. Over that time, many myths have come and gone, some staying and becoming a part of the country’s history and entering modern era stories, folklore, music, movies, and more. Many of these legends contain terrifying creatures and entities that are utterly terrifying in concept and design. And over the years, many Japanese artists have created their own visions of these monstrous beings.

While many of us horror fans may only know Japanese horror of the past two or so decades thanks to the rise in J-horror films as well as the ease with which we can import such films, I wanted to dig much further back to these historical pieces that boggle the imagination and showcase nightmarish demons.

Below are several examples of these masterful pieces of art.

Utagawa Kuniyoshi “Takiyasha the Witch and the Skeleton Spectre”

Kuniyoshi was an artist who was born in the late 18th century and is considered by many to be one of the last great masters in the style of ukiyo-e woodblock prints, which waned in popularity in the 19th century. He created pieces that included many different subjects, ranging from samurai warriors to kabuki actors to animals and more.

One of his most horrific pieces is a triptych titled “Takiyasha the Witch and the Skeleton Spectre”, which depicts a princess reading from a scroll to summon a gigantic skeletal phantasm to protect her from the hero of the myth.

From the British Museum via Surprise Round:

Princess Takiyasha was the daughter of the provincial warlord Taira no Masakado who tried to set up an ‘Eastern Court’ in Shimōsa Province in competition with the emperor in Kyoto. However, his rebellion was put down in AD 939 and Masakado was killed. After his death, Princess Takiyasha continued living in the ruined palace of Sōma.

This print shows the episode from the legend when the emperor’s official, ōya no Mitsukuni, comes to search for surviving conspirators. The princess is reciting a spell written on a handscroll. She summons up a giant skeleton which comes rearing out of a terrifying black void, crashing its way through the tattered palace blinds with its bony fingers to menace Mitsukuni and his companion.

The triptych currently resides at the Honolulu Museum of Art.

Artist Unknown “Tsuchigumo no soushi”

The Japanese had a mythical creature (yōkai) that was called the Earth Spider, a terrifying amalgamation that featured the face of an oni, a body of a tiger, and the legs of a spider.

Originally, the term tsuchigumo was a derogatory term for renegade clans who did not swear allegiance to the Emperor of Japan. Many of these clans took refuge and made their homes in caves, emerging much like the Chinese Bird Spiders, that the myth may be based on, do when they search for food. This information came from the renowned Edo period historian Motoori Norinaga.

“The basic story begins with the illness of Raikou. A priest is sent to pray for him, but the priest is actually the spider in disguise. It soon reveals itself and entangles Raikou in its web. Raikou slashes his way free but the spider escapes during the struggle. Raikou’s four retainers, usually known as the “Four Guardian Kings” (shitennou), eventually find the spider and kill it with Raiko’s famous sword which they rename Kumokirimaru (Spider-cutter). [Source]”

A print resides at the Tokyo National Museum.

Utagawa Kuniyoshi “The Earth Spider Generates Monsters at the Mansion of Lord Minamoto Yorimitsu”

Another masterful triptych from Kuniyoshi, this piece tackles the issue of nightmares as the Earth Spider is sending forth demonic creatures to haunt the dreams of Lord Minamoto Yorimitsu, all while his retainers sit around conversing and playing Go.

From Christies:

The evil Earth Spider conjures up a battle of demons to torment the unwell Raiko (Yorimitsu) in his sleep (far right), whilst his retainers play go. This design got Kuniyoshi into trouble with the authorities because it was felt that it was a caricature of the Shogun Ieyoshi (ruled 1837-53) and his hated chief minister, Mizuno Tadakuni (1794-1851). As a result the blocks were destroyed. Despite the controversy, soon after, the print’s popularity resulted in two pirated versions being produced from completely re-cut blocks, each with notable differences when compared to the original.

Various versions of this print can be found in Boston, Tokyo, and London.

Kurimoto Tanshu “Kappa drawings from mid-19th century Suiko juni-hin no zu”

The Kappa is an example of a Suijin, or a “water deity”, from Japanese legend. These creatures can range in terms of their intentions. Some of the Kappa are known as flesh-eaters that, when captured, will offer their services or impart their knowledge. Others are though to be rapists, impregnating women. Other still attack animals, specifically livestock.

Interestingly, according to myth, the favorite food of the kappa is a cucumber. Additionally, they are at their weakest when attacking livestock because they enter stables, which means they are more easily caught.

The below print can be found at the National Diet Library in Tokyo.

Utagawa Toyokuni “Tokaido Yotsuya Kaidan Onoe Matsusuke as the Ghost of the Murdered Wife Oiwa, in “A Tale of Horror from the Yotsuya Station on the Tokaido Road”

Supposedly, Ju-On‘s Kayako was inspired by this haunting tale. The story goes that a woman by the name of Oiwa was disfigured (sometimes the tale says she was murdered) by her husband, whom she haunted and pursued. When he went to remarry, her ghostly face appeared on the face of his bride. In terror, he swung his sword to slay the ghastly apparition only to behead his wife. He was ultimately killed by Oiwa’s brother.

According to Ju-On Wikia, simply telling this story is dangerous as it has a curse upon it. Filmmakers who use it as an inspiration for their own movies will apparently go to the grave of Oiwa in Tokyo to pray and ask for her blessings.

Toyohara Chikanobu “Kiyomori in a Snowy Garden of Skulls”

Some of Japan’s prints are not necessarily of demons of the flesh but more so demons of the mind. The actions of one’s past can haunt that person for the rest of their lives, as evidenced in this haunting ukiyo-e woodblock print.

“The subject of this painting was a very brutal warlord by the name of Taira Kiyomori. He killed many people, including members of his own family. Kiyomori is shown facing his snow covered garden, contemplating his life’s consequences. At the end of his life, he is now haunted by images of skulls and skeletons sculptured in the snow. [Source]

Tsukioka Yoshitoshi “Insatiable Old Woman”

Above I mentioned that Utagawa Kuniyoshi is considered one of the last great ukiyo-e masters. Well, Yoshitoshi is considered the very last master of the art. And his piece “Insatiable Old Woman” is a prime example of his abilities.

The piece is a representation of a scene from the folk tale “Shita-kiri Suzume” (translated as “Tongue-Cut Sparrow” and depicts the punishment of an old woman after her previous acts.

The full story follows that of an old husband and wife couple, the latter of whom is greedy and selfish. One day, the husband, while out cutting wood in the mountains, finds an injured young sparrow, which he brings home to nurse back to health. The wife is upset that her husband would waste their food on such a creature.

One day, the husband goes out to the mountains and leaves the sparrow with his wife, who goes fishing and leaves the sparrow alone in their home. Upon returning, she finds that the sparrow has eaten starch that was left out. In a fit of rage, she slices off the sparrows tongue and releases it back into the wild where it flies away.

When the husband comes home, he is distraught by this event and goes into the mountains to try and find the sparrow. He finds himself in a grove where a sparrow inn is located and he is invited in and treated kindly and lovingly by all the sparrows inside, including the young sparrow whose life he saved. The birds want to give him a present, so they present two covered baskets, one small and one large. He is allowed to choose only one, so he opts for the smaller one as it’s going to be the least heavy to carry back home from the mountains. When he arrives home and opens it, he finds treasures, delighting his wife. However, when she learns that there is a larger basket, she sets off to find it so that she may take it.

When she arrives at the sparrow’s inn, they grant her the basket but warn her not to open it until she gets home. Of course, her wicked selfishness doesn’t allow her this and she opens it on the path back home only to unveil creatures and demons which sprang out and startled her so much that she fell down the mountain to her death.