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Tsukuyomi-no-Mikoto
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Tsukuyomi-no-Mikoto
God of the moon
Woodblock print of Tsukuyomi-no-Mikoto
Other namesTsukuyomi (ツクヨミ, 月読), Tsukiyomi (ツキヨミ), 月読尊、月弓尊、月夜見尊、月讀尊
RegionJapan
Genealogy
ParentsIzanagi (Kojiki)
Izanagi and Izanami (Nihon Shoki)
SiblingsAmaterasu
Susanoo
(and others)
ConsortAmaterasu (some myths)
Part of a series on
Shinto
Shinto
Beliefs
Major kami
Important literature
Shinto shrines
Practices
See also

Tsukuyomi-no-Mikoto (ツクヨミノミコト, 月読命),[1] or simply Tsukuyomi (ツクヨミ, 月読) or Tsukiyomi (ツキヨミ),[2] is the moon kami in Japanese mythology and the Shinto religion. The name "Tsukuyomi" is a compound of the Old Japanese words tsuku (月; "moon, month", becoming modern Japanese tsuki) and yomi (読み; "reading, counting").[3] The Nihon Shoki mentions this name spelled as Tsukuyumi (月弓; "moon bow"), but this yumi is likely a variation in pronunciation of yomi.[3] An alternative interpretation is that his name is a combination of tsukiyo (月夜; "moonlit night") and mi (見; "looking, watching"). -no-Mikoto is a common honorific appended to the names of Kami; it may be understood as similar to the English honorific 'the Great'.

In Man'yōshū, Tsukuyomi's name is sometimes rendered as Tsukuyomi Otoko (月讀壮士; "moon-reading man"), implying that he is male.[4]

Myth

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Tsukuyomi was the second of the "three noble children" (三貴子, Mihashira-no-Uzu-no-Miko) born when Izanagi-no-Mikoto, the kami who created the first land of Onogoroshima, was cleansing himself of his kegare while bathing after escaping the underworld and the clutches of his enraged dead sister, Izanami-no-Mikoto. Tsukuyomi was born when he washed out of Izanagi's right eye.[5] However, in an alternative story, Tsukuyomi was born from a mirror made of white copper in Izanagi's right hand.

Tsukuyomi angered Amaterasu (who in some sources was his wife) when he killed Ukemochi, the megami of food. Amaterasu once sent Tsukuyomi to represent her at a feast presented by Ukemochi. The megami created the food by turning to the ocean and spitting out a fish, then facing a forest and spitting out game, and finally turning to a rice paddy and coughing up a bowl of rice. Tsukuyomi was utterly disgusted by the manner of which the exquisite-looking meal was made in, so he killed her.[5]

Amaterasu learned what happened and she was so angry that she refused to ever look at Tsukuyomi again, forever moving to another part of the sky. This is the reason that day and night are never together. This is according to one of the accounts in the Nihon Shoki. Tsukuyomi does not have such significance in the Kojiki, in which there is a similar tale about Susanoo-no-Mikoto killing a similar food megami named Ōgetsuhime, who is often conflated with Ukemochi.

Description in mythology

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In the Kiki (the Kojiki and Nihon Shoki), Tsukuyomi is said to have been born from Izanagi-no-Mikoto (Izanagi-no-Mikoto / 伊弉諾尊). He is considered a god who governs the moon and night, though there are alternate theories (as discussed later). He is regarded as the younger brother of Amaterasu-ōmikami (Amaterasu-ōmikami / 天照大神), and the elder brother of Takehaya Susanoo-no-Mikoto (Susanoo-no-Mikoto / 建速須佐之男命)[a]

Tsukuyomi is considered one of the gods of the moon.[6] However, the nature of his divinity varies by text. In the Kojiki, he is said to have been born from Izanagi-no-Mikoto’s right eye during his purification (misogi) after escaping from the underworld, alongside Amaterasu-ōmikami, who was born from the left eye, and Susanoo-no-Mikoto, born from the nose. These three form the important trio known as the Mihashira no Uzu no Miko.

In contrast, the Nihon Shoki offers alternative accounts one stating that he was born from Izanagi and Izanami-no-Mikoto, another that he emerged from a white bronze mirror held in Izanagi’s right hand. The domains these deities govern, such as the heavens or seas, also vary between stories.

This pattern of a sun god, moon god, and a younger or elder sibling is seen in comparative mythology across various cultures as well.[7]

In Japanese mythology, Tsukuyomi rarely appears in the Kojiki and Nihon Shoki, and is generally not very active. He is mentioned only briefly in the eleventh variant of the fifth volume of the Nihon Shoki, in connection with the origin of grains. One theory suggests that placing a calm, quiet deity like Tsukuyomi between the contrasting personalities of Amaterasu and Susanoo provides narrative balance.[8] A similar structure is found in cases like Takami-Musubi-no-Kami and Kami-Musubi-no-Kami being paired with Ame-no-Minakanushi, or Hoori-no-Mikoto and Hoderi-no-Mikoto with Hosuseri-no-Mikoto.

Tsukuyomi’s jurisdiction differs across texts. In the Kojiki and Nihon Shoki, Amaterasu, as the sun deity, clearly governs "heaven" or Takamagahara. In the Kojiki, Tsukuyomi is said to rule over "Yoru no Oshikuni" (the Realm of Night Food), while in the Nihon Shoki, he is assigned to "govern heaven alongside the sun." There are also accounts of him being tasked with ruling over the "eightfold tides of the sea plain." This inconsistency in his domain may be due to the later addition of Susanoo to myths originally centered on Amaterasu and Tsukuyomi.[9]

Because some of Tsukuyomi’s stories overlap with Susanoo’s, a few scholars argue that they may be the same deity.[10]

Record in the Nihon Shoki

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According to Volume 1 of the Nihon Shoki, in the story of the birth of the gods by Izanagi-no-Mikoto and Izanami-no-Mikoto, after the birth of the gods of the mountains, rivers (ja), and seas, Izanagi and Izanami gave birth to the spirit of trees, Kukunochi, and the spirit of grass, Kaya-no-hime (also called Nozuchi). Then, the two deities discussed, saying: “We have already given birth to the great eight-island country and to the mountains, rivers, grasses, and trees. Why not give birth to the ruler of the world?” Later, they gave birth to the sun goddess Ōhirume-no-Muchi (also known as Amaterasu-ōmikami or Amaterasu-ōhirume-no-Mikoto). This child’s body radiated divine light, illuminating the entire universe. The two deities were pleased and said: “Although we have had many children, none have been as wondrous as this. She should not remain in this country. Let us quickly send her to the heavens and entrust her with the affairs of the celestial realm.” At that time, heaven and earth were not far apart, so she was raised to the heavens via the heavenly pillar. Next, they gave birth to the moon god (also called Tsukuyomi-no-Mikoto, Tsukuyomi-no-Kami, or Tsukuyomi-no-Mikoto again). Since his radiance was second only to the sun goddess, he was deemed suitable to rule alongside her. After that, they gave birth to Hiruko, who, though three years old, was unable to stand. He was placed in a Heavenly Reed Boat and abandoned to the winds. Finally, they gave birth to Susanoo-no-Mikoto (also known as Kamususanowo-no-Mikoto or Hayasusanowo-no-Mikoto). Although this deity was brave and enduring, he constantly wept, causing calamities such as the death of people and the withering of green mountains. Thus, Izanagi and Izanami said to Susanoo: “You are unruly. You cannot rule the world. You must depart for the Land of Roots!” And so, he was exiled. In the first version of the myth, it is recorded that Izanagi said: “I wish to give birth to noble children to govern the realm.” Holding a white bronze mirror in his left hand, he created the deity Ōhirume-no-Muchi. Holding another mirror in his right hand, he created the moon god Tsukuyomi-no-Mikoto. Then, turning his head and glancing behind, he created Susanoo-no-Mikoto. Since both Ōhirume-no-Muchi and Tsukuyomi-no-Mikoto had bright and pure natures, they were tasked with illuminating heaven and earth. Susanoo, who delighted in destruction, was assigned to rule the Land of Roots. In the sixth version, it is said that Izanagi, after escaping from Yomi (the underworld), performed a purification ritual (misogi) at Awagihara in Odo, Hyūga Province (modern-day Miyazaki City, Miyazaki Prefecture). Washing his left eye, he gave birth to Amaterasu-ōmikami; washing his right eye, he gave birth to Tsukuyomi-no-Mikoto; and washing his nose, he gave birth to Susanoo-no-Mikoto. He then gave commands to the three children: “Amaterasu shall rule over Takamagahara (the High Plain of Heaven). Tsukuyomi shall rule over the many tides of the blue sea. Susanoo shall rule over the world.” However, Susanoo, already grown with a beard eight fists long, neglected his duties and wept daily. When Izanagi asked, “Why do you weep constantly?” he replied, “I wish to follow my mother to the Land of Roots, and I weep only for this.” Enraged, Izanagi said, “Then do as you wish!” and banished him. In the eleventh version, it is recorded that Izanagi commanded his three children as follows: “Amaterasu shall govern Takamagahara. Tsukuyomi-no-Mikoto shall assist the sun and manage heavenly affairs. Susanoo shall govern the sea realm.” While in heaven, Amaterasu-ōmikami heard of the food goddess Ukemochi in Ashihara-no-Nakatsukuni and sent Tsukuyomi-no-Mikoto to visit her. Facing Ashihara-no-Nakatsukuni, Ukemochi spat out rice; facing the sea, she spat out fish; facing the mountains, she spat out wild game. She prepared a banquet with all kinds of food to entertain Tsukuyomi. However, he was angered and said: “Disgusting! How vile! How dare you offer food from your mouth to me?” So he drew his sword and killed Ukemochi, then returned to report everything to Amaterasu. Upon hearing this, Amaterasu became enraged and declared: “You are a wicked god! I shall never see you again!” Thus, Amaterasu and Tsukuyomi, day and night, were separated bringing about the cycle of day and night.[11][12]

Age of the Gods

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In the fifth section of the Nihon Shoki, Age of the Gods, the main text simply states briefly: “He gave birth to the moon god, who shone with a brilliance second only to the light of the sun, and sent him to heaven to rule alongside the sun.” However, in the variant account found in the first Ishō that follows, it is said that Izanagi-no-Mikoto held a white bronze mirror in his left hand and produced Ōhirume-no-Muchi (Amaterasu-Ōmikami), and held a white bronze mirror in his right hand and produced Tsukuyomi-no-Mikoto. The moon, set alongside the sun, is thought to represent the new moon before the separation of sun and moon.

Regarding Tsukuyomi’s domain of rule, there are accounts that he was instructed to govern the heavens alongside Amaterasu. On the other hand, there is also a tale in which he was commanded, “Rule over the eightfold tides of the vast sea plain”.[13][6] This is thought to represent the relationship between the tides and the moon.

In the eleventh Ishō of the fifth section of the Shoki, Tsukuyomi-no-Mikoto descends after being ordered by Amaterasu to meet with Ukemochi-no-Kami. There, Ukemochi produced food from her mouth as hospitality. Tsukuyomi, angered at this as “filthy,” slew Ukemochi with his sword. From Ukemochi’s dead body were born cattle, horses, silkworms, rice, and other crops, which became the origin of grains. When Amaterasu learned of Tsukuyomi’s violent act, she became angry, declaring, “You are an evil god.” From then on, it is said, the sun and the moon came to live apart, separated by one day and one night. This is the myth of the “separation of sun and moon,” and is thought to explain that the moon becomes a new moon when its ecliptic longitude is 0 degrees from the sun (i.e., apparently aligned with it), and becomes a full moon when it is 180 degrees apart, that is, when it appears most distant from the sun.

Meanwhile, in the Kojiki, in a similar tale, the food goddess (Ōgetsuhime-no-Kami) is killed—but the one who does it is Susanoo-no-Mikoto (see also Food origin myths in Japanese mythology). Some scholars suggest that this difference arose because a myth originally told of one deity was later attributed to the other’s episode.[9]

Chronicle of Emperor Kenzo

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Tsukuyomi reappears during the era when human emperors began ruling in place of the gods (after the transition from the Age of the Gods to the Age of Man). In Book 15 of the Chronicles (Shoki), in the annals of Emperor Kenzo, there is a record that when Ahe no Omi Kotoshiro was dispatched to Mimana, he became possessed by the moon god, who proclaimed, “I, descendant of Takami-Musubi, declare: worship me, the moon god, and joy shall come.” In accordance with this divine message, a shrine was built in the Kadonokōri (Katsuno District) of Yamashiro Province, and the ancestor of the Iki no Agatanushi clan, Oshimi no Sukune, was appointed to conduct the rites. This event is said to be the origin of the Tsukuyomi Shrine in Yamashiro Province. There is also a Tsukuyomi Shrine on Iki Island, where the oracle is believed to have occurred. It is said to be the original shrine of the Tsukuyomi Shrine in Yamashiro Province (present-day Kyoto). However, it is now believed that this connection was a mistake made by Tachibana Mitsuyoshi, and that the actual originally oracular shikinaisha Tsukuyomi Shrine was located at Otoko-dake. Today, it has been relocated and enshrined at Hakozaki Hachiman Shrine.[14][15]

Fudoki

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Yamashiro Province Fudoki

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Although extant only as a fragment, in “Katsura no Sato” it is told that when “Tsukuyomi-no-Mikoto,” receiving the imperial command of Amaterasu-Ōmikami, descended to the Middle Land of Reed Plains and went to Ukemochi-no-Kami, he stopped and stood by a sacred katsura tree. From this comes the origin of the place name “Katsura no Sato.” Traditions linking the moon and the katsura tree are thought to have been transmitted from India through ancient China to Japan,[16] and in the Man’yōshū there is also a poem linking moon people with the katsura tree. In Japanese mythology, too, several deities are associated with the katsura—for example, in the Kojiki appear the pheasant Nakime, sent from the heavenly deities to Ame-no-Wakahiko, and Yamasachihiko, who lost his brother’s hook and reached the palace of the sea god.

Izumo Province Fudoki

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To the northeast, seventeen ri and one hundred eighty bu from the station-house (umaya) of Chikumi District stands the deity. The child of Izanagi-no-Mikoto, “Tsukutsumi-no-Mikoto,” resides here. Therefore, it should be called Tsukutsumi, but the people of today still call it Chikumi.

However, Tsukutsumi-no-Mikoto was originally a local lunar deity protecting the harbor of Watazu and guarding Chikumi since ancient times. Because the central court’s authority grew stronger, the local people identified him as a child of Izanagi, though some theories hold he has no relation to Tsukuyomi.[17]

Man’yōshū

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In the poems of the Man’yōshū, expressions such as “Tsukuyomi” or “Tsukuyomi-otoko (Moon-Reading Man)” appear. These can be read both as simple metaphors (personifications) of the moon, and as references to the deity. He also appears as the custodian of “Wochimizu” (Water of Rejuvenation), i.e., the water of youth, associated with faith in the “moon and immortality,” which has been noted to resemble Okinawan beliefs about “Sudemizu” by scholars such as Nikolai Nevsky, Shinobu Orikuchi, and Eiichirō Ishida.

In addition, other examples of the moon personified in Man’yōshū poems include terms such as “Moon Person” and “Sasarae Man.”

Other Texts

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Kōtai Jingū Gishikichō

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Tsukuyomi-no-Mikoto. His form is that of a man riding a horse. He wears purple robes and girds himself with a golden sword.

Thus he is described as the figure of a mounted warrior bearing a sword.

Enki of Hanakiyama-jōkōji and Enki of Jijūji

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When Amaterasu-Ōmikami made a progress to Yagami, she sought a suitable site for a temporary palace. Then a white hare appeared. The hare held Amaterasu’s robes in its mouth and guided her to a plain near the summit of Sacred Stone Mountain, today called Isegahira, where it disappeared. The white hare was the sacred body of Tsukuyomi-no-Mikoto. Afterwards, it was worshiped as Dōso Byakuto Daimyōjin and revered as the tutelary deity of the four villages along the ridges of Nakayama.

The Writing of “Tsukuyomi”

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Generally the name is pronounced “Tsukuyomi,” but shrines that enshrine the moon deity often write it as “Tsukiyomi.” In the Kojiki, it is only “Tsukuyomi-no-Mikoto,” while in the main text of the Nihon Shoki fifth section, the “Moon God” is written with multiple variants: 【one variant says Tsukiyumi-no-Mikoto, Tsukuyomi-no-Mikoto, Tsukuyomi-no-Mikoto】. In the Man’yōshū, the moon is also referred to as “Tsukuyomi-otoko,” “Tsukihito-otoko,” and “Tsukuyomi.” In the fragmentary Yamashiro Fudoki, it appears as “Tsukuyomi-no-Mikoto.”

When the Old Japanese kana usage is compared, the spellings are as follows:

Kojiki

Tsukuyomi: Yo乙・Mi甲

Nihon Shoki

Tsukuyomi: Yo乙・Mi甲

Tsukiyumi: Yu―・Mi甲

Tsukuyomi: Yo甲・Mi甲

Man’yōshū

Tsukuyomi: Yo乙・Mi甲

Tsukuyomi: Yo甲・Mi甲

Tsukoyomi: Yo乙・Mi甲

Thus, across Kojiki, Nihon Shoki, and Man’yōshū, the “Mi” of Tsukuyomi consistently belongs to the kō class, but the “Yo” varies between otsu and kō, and even a “Yu” example exists.

Summarizing by the Yo/Yu sound:

Yo-otsu: Tsukuyomi, Tsukoyomi

Yo-kō: Tsukuyomi

Yu: Tsukiyumi

The Meaning of the Name Tsukuyomi

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Several etymological theories exist for the divine name Tsukuyomi.

The most widely accepted holds that it derives from “reading/counting the moon,” linking the god to the calendar.[6] In Old Japanese kana usage, the phonetic spellings for “yomi” (to read, to count) such as “yomi/ yomi” match Tsukuyomi (Yo-otsu, Mi-kō), suggesting the original sense was “reading (counting) the sun and moon.” For example, “koyomi” (calendar) literally means “counting the days (hi-yomi)”.[18] By analogy, Tsukuyomi would mean “counting the moon.”

“Yomu (to read)” also appears in the Man’yōshū in the sense of “to count time (sun and moon),” such as in “reading the days and months.” Throughout history, the phases and movement of the moon served as the basis for calendars; worldwide, the lunar calendar arose earlier than the solar calendar. Even in the expressions “first month, second month,” remnants of this remain. Thus the moon and the calendar are deeply connected, and Tsukuyomi is interpreted as a divine figure presiding over calendrical reckoning.[6]

Since calendars mainly existed for agriculture, and because in some cases “Tsuki” is written with the character for “tribute” (調) as in Tsuki Shrine (Tsukijinja), and since systems such as later so-yō-chō (rice tax, labor tax, tribute tax) required annual adjustments of food supply and crop management, Tsukuyomi may also have been considered a deity of agriculture and taxation.

Furthermore, as the rabbit is also linked to the moon, Tsuki Shrine features rabbits instead of komainu (lion-dogs), and includes Toyoukehime-no-Mikoto, a food-related deity, among its enshrined gods.

Other theories hold that, like the sea god Watatsumi or the mountain god Ōyamatsumi, Tsukuyomi derives from “Tsukuyo-no-Mi” (“Tsukuyo” = moon, “mi” = divine spirit), meaning simply “Moon God”.[19]

In Tenrikyo

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In Tenrikyo, Tsukiyomi-no-Mikoto is one of the Ten Aspects of God's Providence (十全の守護, jūzen no shugo).[20]

Lunar shrines dedicated to Tsukuyomi

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Tsukiyomi-no-miya, auxiliary shrine of the Inner Shrine in Sanctuary of Kotaijingu (Naiku) at Ise city
Tsukuyomi Shrine, auxiliary lunar at Matsunoo-taisha in Kyoto

The Lunar god is enshrined at auxiliary shrines such as Tsukiyomi-no-miya, a branch of the Kōtai Jingū (Inner Shrine),[21] and Tsukiyomi-no-miya, a branch of the Toyo’uke Daijingū (Outer Shrine).[22] In addition, the Tsukuyomi Shrine in Kyoto City[b] was founded with a transfer of the deity from the Tsukuyomi Shrine in Iki City.[23] The name of Mount Gassan (1984 m, in Yamagata Prefecture), one of the 100 Famous Japanese Mountains and part of the Three Mountains of Dewa, is said to derive from the enshrinement of Tsukuyomi-no-Mikoto at the mountaintop shrine (Gassan Shrine, former status: Imperial major shrine).

See also

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Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Tsukuyomi-no-Mikoto

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Tsukuyomi-no-Mikoto is the deity of the moon and night, one of the principal in , born from the right eye of the creator god Izanagi-no-Mikoto during his ritual purification after fleeing the underworld of . As the second of Izanagi's three noble children—alongside the sun goddess Amaterasu Ōmikami (from his left eye) and the storm god (from his nose)—Tsukuyomi was assigned dominion over the night to complement Amaterasu's rule over the day and Susanoo's over the seas. In the foundational texts of Shinto mythology, such as the Nihon Shoki (720 CE), Tsukuyomi is depicted as a proud and orderly figure whose actions profoundly shaped the cosmos. Sent by as her emissary to the earthly realm, Tsukuyomi visited the food goddess Ōgetsu-hime (also known as Uke Mochi), who produced sustenance from her mouth, body parts, and nose to demonstrate her divine role in nourishing the world. Disgusted by what he perceived as impurity, Tsukuyomi slew her, causing rice, millet, silkworms, cattle, and horses to emerge from her corpse as further gifts to humanity. Upon learning of the killing, , horrified by the desecration, vowed never to share the sky with her sibling again, resulting in the perpetual separation of day and night. This myth underscores themes of purity, order, and cosmic division central to Shinto cosmology, portraying Tsukuyomi as a of beauty and discipline yet capable of rash judgment. Unlike , who is the central of the Ise Grand Shrine, Tsukuyomi receives veneration at auxiliary shrines such as Tsukiyomi-no-miya within the Ise Jingū complex and dedicated sites like the Tsukiyomi Shrine, an auxiliary of Matsunoo Taisha in , where rituals emphasize lunar cycles, reflection, and nocturnal serenity. Though often described as male and 's brother or consort in early accounts, some interpretations note Tsukuyomi's gender as ambiguous or fluid, reflecting the androgynous aspects of certain .

Etymology and Identity

Name and Meaning

The name Tsukuyomi-no-Mikoto, often shortened to Tsukuyomi, is composed of the kanji characters 月 (tsuki, meaning "moon" or "month") and 読 (yomi, meaning "to read" or "to count"), yielding interpretations such as "moon-reader" or "one who counts the moon's phases," which scholars link to the ancient Japanese lunar calendar used for tracking time and seasons. This etymology underscores the deity's association with the moon as a celestial timekeeper. In the earliest surviving Japanese text, the Kojiki (712 CE), the name appears as 月夜見 (tsukuyo-mi), a phonetic rendering combining 月 ("moon"), 夜 ("night"), and 見 ("to see" or "to gaze"), suggesting "gazer at the moonlit night" or "one who views the moon in darkness." The Nihon Shoki (720 CE) similarly employs 月夜見 or variant forms like 月讀, reflecting early orthographic fluidity before standardization. Over time, the name evolved to the modern kanji 月読 in post-classical texts and contemporary usage, emphasizing the "reading" or calendrical connotation over the visual one, possibly influenced by scholarly reinterpretations during the Edo period to align with cosmological and divinatory practices. Alternative linguistic analyses propose derivations from tsukiyo ("moonlit night") combined with mi ("watching" or "seeing"), preserving the nocturnal observation theme while adapting to evolving phonetic and semantic preferences.

Gender and Attributes

In Shinto canonical texts such as the and , Tsukuyomi-no-Mikoto is primarily identified as a male deity, born from the right eye of Izanagi-no-Mikoto alongside the female sun and the male storm god , forming the "three noble children" that govern key aspects of the cosmos. This male portrayal is reinforced in classical literature like the , where the name appears as Tsukuyomi Otoko, explicitly denoting "moon-reading man." Key attributes of Tsukuyomi-no-Mikoto center on the embodiment of the moon's cyclical nature, serving as a divine regulator of time through lunar phases that mark calendars and seasons in ancient Japanese society. The deity is intrinsically linked to the , symbolizing the moon's gravitational influence on earthly waters, and evokes nocturnal serenity as the ruler of the night realm, a domain of quiet reflection and otherworldly connection. These traits underscore a of purity and detachment, positioning Tsukuyomi as a celestial overseer of mystery and balance, distinct from the more dynamic, life-affirming vitality of Amaterasu's solar domain. Symbolically, Tsukuyomi-no-Mikoto represents the and enigmatic counterpoint in Japanese cosmology, contributing to a yin-like equilibrium against Amaterasu's yang energy, where the moon's subtle illumination fosters contemplation and amid the night's shadows. This duality highlights themes of celestial hierarchy, with Tsukuyomi maintaining order in the nocturnal sphere, emphasizing restraint and ethereal beauty over overt power.

Mythological Origins

Birth and Parentage

In , Tsukuyomi-no-Mikoto's origin is tied to the purification ritual performed by the creator deity -no-Mikoto following his harrowing journey to , the land of the dead, to retrieve his deceased consort Izanami-no-Mikoto. Upon escaping Yomi, Izanagi sought to cleanse himself of the defilements encountered there, initiating a (purification) rite in a river in the province of Himuka, which marked a pivotal moment in the cosmogonic process of generating major . This ritual not only restored Izanagi's purity but also gave rise to several deities, culminating in the birth of the three noble children, known as the mihashira-no-uzunomiko, who formed the foundational divine triad overseeing key aspects of the cosmos. During the ablution, Tsukuyomi-no-Mikoto emerged specifically from Izanagi's right eye, positioning him as the second-born among the triad. In the , the primary mythological chronicle, this birth occurs alongside Amaterasu-Ōmikami from the left eye and from the nose, with immediately recognizing their nobility and assigning domains: Amaterasu to rule (the High Plain of Heaven), Tsukuyomi to govern the night, and Susanoo the seas. The , another foundational text, presents a variant in its main narrative where begets the three by washing his face without specifying bodily parts, though an alternate account aligns closely with the by attributing Tsukuyomi's emergence to the right eye during the purification. These relationships established the initial harmony of the divine family before subsequent tensions arose. This event occurs in the early phases of kami creation, after Izanagi and Izanami had already produced numerous island and elemental deities but before the fuller ordering of the heavenly realm. As the offspring of alone—distinct from the earlier progeny shared with —Tsukuyomi's birth underscores the theme of renewal through purification, symbolizing the transition from chaos and death to structured celestial governance. The assignment of night-time rule to Tsukuyomi, often interpreted as lunar oversight, reflects the myth's emphasis on balanced cosmic division among the siblings.

Separation from Amaterasu

In the mythological accounts, Tsukuyomi-no-Mikoto and initially shared governance over , the High Plain of Heaven, following their birth from 's purification ritual. Izanagi assigned to rule the day and the heavenly realm, while Tsukuyomi was tasked with overseeing the night, establishing a harmonious division of cosmic responsibilities among the siblings. This arrangement reflected an early unity in the divine order, where the sun and moon deities operated in complementary roles within the celestial domain. The separation arose from a diplomatic mission initiated by Amaterasu, who dispatched Tsukuyomi to represent her at hosted by the food deity, setting the stage for their . Tsukuyomi's reaction to the proceedings during this visit led to a profound act of violence, which he later reported to his sister upon returning to . This event, detailed as a pivotal moment in the divine narrative, underscored tensions in their shared authority and etiquette expectations among the . Outraged by Tsukuyomi's actions, declared him a "wicked " and vowed never to share the same space with him again, proclaiming eternal separation between them. This vow resulted in the division of day and night into distinct realms, with confining herself to the sun's domain and Tsukuyomi relegated solely to the moon, explaining the perpetual alternation of light and darkness in the sky. The cosmological impact of this schism solidified the independent paths of the solar and lunar cycles in .

Role in Creation and Cosmology

Association with the Moon

Tsukuyomi-no-Mikoto holds the central role as the Shinto deity of the moon, assigned to govern the night sky and lunar domain as part of the divine cosmic structure. Emerging from Izanagi's purification ritual, where he was born from the washing of his father's right eye, Tsukuyomi was explicitly allotted sovereignty over the night, positioning him as the overseer of the moon's movements and nocturnal realm. This governance underscores his functional authority over lunar cycles, which historically shaped Japanese calendars by marking months and seasons essential for societal rhythm. The moon's oversight by Tsukuyomi extends to practical influences on and seasonal cycles, as its phases dictated timing for planting, harvesting, and related rituals in ancient , ensuring alignment with natural ebbs and flows. Symbolically, Tsukuyomi represents transformation and impermanence through the moon's waxing and waning phases, embodying the cyclical change inherent in existence and evoking themes of renewal amid flux. This lunar symbolism also conveys a duality of and shadow, balancing the moon's reflective coolness against the sun's direct warmth, while hinting at intertwined masculine and feminine principles in cosmic harmony. Within cosmology, Tsukuyomi integrates into the lineage descending from , forming one-third of the noble triad that establishes heavenly equilibrium alongside and Susanoo, thereby enforcing order across day, night, and sea. In traditions, his lunar dominion connects to through the moon's gravitational influence on waters, symbolizing rhythmic natural forces, and to nocturnal phenomena like dreams, shadows, and evening wildlife, which fall under his watchful presence.

The Ukemochi Incident

In one account from the , distinct from the variant where slays the food goddess Ōgetsu-hime, , the sun goddess, dispatched her brother Tsukuyomi-no-Mikoto to visit -no-Kami, the deity presiding over food and sustenance on earth, to inquire about the production of earthly provisions. Upon arriving, -no-Kami welcomed Tsukuyomi by preparing a feast, turning her head toward the land to produce boiled rice from her mouth, toward the sea to yield fish with broad and narrow fins, and toward the mountains to generate game animals with rough and soft fur, all presented on a hundred tables. Disgusted by what he perceived as an impure and offensive manner of food production, Tsukuyomi-no-Mikoto drew his sword and slew Ukemochi-no-Kami in anger. From the deceased goddess's body, various essential items emerged: oxen and horses from her head, millet from her forehead, silkworms from her eyebrows, panic (a type of millet) from her eyes, rice from her belly, and wheat along with large and small beans from her genitals. Tsukuyomi-no-Mikoto returned and reported the incident to , who, enraged by the act, sent the messenger Ame-kuma-bito to investigate. Ame-kuma-bito discovered the products emerging from Ukemochi-no-Kami's body and delivered them to , who recognized their value and sowed the seeds in the fields to establish , , and for human sustenance. declared that she would no longer share the same celestial hall with Tsukuyomi, vowing eternal separation; this event is interpreted as the origin of the sun and moon's distinct paths across the sky, preventing their simultaneous presence.

Historical and Literary Accounts

In the Kojiki

In the , Japan's oldest extant chronicle compiled in 712 CE, Tsukuyomi-no-Mikoto emerges as one of the three noble deities born during -no-Mikoto's purification ritual following his escape from the underworld of . After fleeing the polluted realm, Izanagi bathes in the river-mouth of Awagihara to cleanse himself; from his left eye is born the sun goddess -Ōmikami, from his right eye Tsukuyomi-no-Mikoto, and from his nose the storm god . These siblings, known as the mihashira no muchi (three pillar deities), are then invested by the eight million gods assembled on the heavenly riverbed with specific domains: rules the High Celestial Plain () during the day, Tsukuyomi governs the night, and Susanoo oversees the fertile sea. This assignment underscores Tsukuyomi's association with nocturnal sovereignty, positioning him as a counterpart to Amaterasu in maintaining cosmic balance. The narrative later details Tsukuyomi's pivotal role in the episode involving the food goddess -no-Kami, which leads to his permanent separation from . Amaterasu dispatches Tsukuyomi to inquire why no tribute of food arrives from the earthly realm; upon reaching at the headwaters of the River Imi, Tsukuyomi witnesses her producing provisions grotesquely—pheasants from her mouth after facing the land, fish from her mouth after facing the sea, and , which she produced by chewing plants in her mouth and voiding from her anus. Enraged by what he perceives as defilement, Tsukuyomi slays with his sword. Following the slaying, vital foodstuffs emerge from her corpse: silkworms from her head, from her forehead, millet from her chest, from her belly, from her genitals, and beans and gourds from her anus. Learning of the killing from Tsukuyomi, declares in horror, "I will not meet that vile [Tsukuyomi]!" vowing eternal separation, thus establishing the alternation of day and night. Scholarly interpretations highlight how the Kojiki employs these accounts to reinforce a divine centered on Amaterasu's lineage, legitimizing the imperial family's descent while marginalizing Tsukuyomi's agency after the Ukemochi incident, portraying him as impulsive and unfit for shared celestial rule. The naming "Tsukuyomi-no-Mikoto" reflects this structure, with "Tsukuyomi" interpreted as "moon-reading" (suggesting or possession of the night) and "-no-Mikoto" as an denoting august nobility, common to high-ranking in the text. This episode, unique to the Kojiki's mythological purity, emphasizes ritual purity and the origins of , contrasting Tsukuyomi's nocturnal domain with Amaterasu's diurnal supremacy.

In the Nihon Shoki

The Nihon Shoki, completed in 720 CE, records multiple variant traditions regarding Tsukuyomi-no-Mikoto, integrating the deity into a framework influenced by Chinese cosmology and historiography, with ties to imperial descent lines that emphasize divine legitimacy for the Yamato rulers. In its primary creation account, the text describes Tsukuyomi-no-Mikoto's birth during Izanagi's purification ritual after fleeing Yomi: from his right eye emerges the moon god, named Tsuku-yomi-no-Mikoto (or alternatively Tsuki-yumi no Mikoto, possibly denoting "moon bow" as a phonetic variant), while Amaterasu-no-Oho-kami arises from the left eye and Susanoo-no-Mikoto from the nose, establishing the trio as siblings with complementary cosmic roles. Izanagi then assigns Tsukuyomi to govern the night realm, highlighting his association with lunar cycles and nocturnal order, in contrast to Amaterasu's daytime sovereignty. These variants often link the deities directly to the imperial genealogy, portraying Tsukuyomi as a progenitor figure reinforcing the sun goddess's ancestral claim to the throne. A notable difference from the Kojiki lies in the subdued treatment of the food goddess incident: one chronicle version names the deity Oho-getsu-hime (Great Moon-Princess), whom Tsukuyomi slays upon witnessing her produce sustenance from her body in a manner he deems impure, prompting Amaterasu's eternal separation from him and explaining the alternation of day and night without further elaboration on moral or ritual consequences. As in the , a second messenger sent by Amaterasu discovers beneficial foodstuffs emerging from her body, underscoring the goddess's role in providing for humanity. This account reflects Sinicized elements, such as structured genealogical lists and cosmological balance akin to yin-yang dualism, rather than the 's more focus on familial strife. In the historical sections, Tsukuyomi appears in the annals of Emperor Kenzo (r. 485–487 CE), where a dispatched to Mimana fell ill on and had a dream in which Tsukuyomi appeared, requesting worship. Upon recovery and reporting this, the emperor ordered the establishment of a to Tsukuyomi on , blending mythology with early historical records.

Worship and Cultural Significance

Shrines and Festivals

Tsukuyomi-no-Mikoto is enshrined at several prominent shrines across , reflecting his role as the deity of the and night. One of the most significant is Tsukiyomi-no-miya, a detached palace (betsugū) within the Ise Grand Shrine complex in , where Tsukuyomi-no-Mikoto is venerated alongside his divine parents, Izanagi-no-Mikoto and Izanami-no-Mikoto; this site underscores his mythological ties to the creation of the and is part of the 125 shrines associated with Ise Jingu. Another key location is Gassan Shrine, situated at the summit of Mount Gassan (1,984 meters) in as part of the Dewa Sanzan pilgrimage route; here, Tsukuyomi-no-Mikoto is revered as the ruler of the night realm, with the shrine's stone structure symbolizing a sacred cavern for the deceased and nocturnal spirits, accessible only from to October due to harsh weather. In , Tsukiyomi Shrine in Nishikyō Ward serves as an auxiliary shrine (betsusha) of Matsunoo Taisha, enshrining Tsukuyomi-no-Mikoto and known for its ancient origins dating to the , particularly for rituals invoking safe through the sacred Tsukiyoseki stone believed to have been used by . Regional examples include various yokujinja (moon shrines) that honor Tsukuyomi-no-Mikoto alongside local lunar , such as the Tsukiyomi Shrine in , which blends his worship with folk practices for protection against nocturnal misfortunes. Moon veneration and seasonal gratitude are emphasized in festivals associated with Tsukuyomi-no-Mikoto's domain, often incorporating Shinto purification rites and communal gatherings. A key observance is Tsukimi (moon viewing), held annually around the 15th day of the eighth lunar month (typically mid-September in the Gregorian calendar), where devotees offer rice dumplings (tsukimi dango), sake, chestnuts, and pampas grass (susuki) to honor the harvest moon as an embodiment of lunar presence; these offerings symbolize abundance and reflection on the night's tranquility. At Tsukiyomi Shrine in Kyoto, moon-viewing rituals occur during Tsukimi, including prayers for fertility and family harmony, while Gassan Shrine integrates nocturnal meditations into its summer pilgrimage season, culminating in purification fees and ceremonies that invoke Tsukuyomi-no-Mikoto's guidance over the afterlife. Tsukimi also loosely connects to broader lunar cycles, such as those observed during Obon in August for ancestral spirits or the lunar New Year, though it remains distinct as a harvest-focused event with no direct processions but rather quiet altars and poetry recitals under the full moon. The worship of Tsukuyomi-no-Mikoto evolved from prehistoric animistic reverence for the as a natural influencing , , and the spirit world. This ancient practice was codified in the 8th-century , establishing Tsukuyomi-no-Mikoto's divine status, but shrines remained syncretic with Buddhist elements until the (1868–1912), when separated worship from , ranking imperial-associated sites like Ise's Tsukiyomi-no-miya as kanpei-taisha (major government shrines) to promote national unity. Post-Meiji reforms formalized enshrinements, transforming regional worship into structured rituals that persist today, emphasizing Tsukuyomi-no-Mikoto's separation from solar deities like while preserving his cosmological role.

In Tenrikyo

In , Tsukuyomi-no-Mikoto holds a prominent theological position as one of the ten aspects of God's complete providence (jūzen no shugo), which collectively represent the multifaceted workings of God the Parent, Tenri-O-no-Mikoto, in sustaining creation. This aspect specifically governs support structures, encompassing the male organ, bones, and overall physical stability in the , while extending to general support mechanisms in the world at large. As part of this providence, Tsukuyomi-no-Mikoto contributes to the protective framework that ensures the integrity and functionality of life, aligning with 's emphasis on the as a sacred vessel for divine purpose. Doctrinally, Tsukuyomi-no-Mikoto is integrated into the Truth of Origin, Tenrikyo's foundational creation narrative revealed through the foundress , where it names the divine animating an essential instrument used by the Parent to shape the human form from primordial matter. This role underscores a cosmology of , wherein Tsukuyomi-no-Mikoto collaborates with complementary aspects—such as those evoking Amaterasu's and Susanoo's vitality—to foster balance and prevent discord, reflecting the unified will of the singular rather than independent deities. The narrative portrays creation as an act of joyous provision, with all aspects interdependent to support human flourishing and the realization of the (yokigurashi). In practices, Tsukuyomi-no-Mikoto is invoked through ritual chants and symbolic gestures during the Kagura Service, the central liturgical dance performed at the Jiba (the sacred grounds in Tenri City), where participants represent the ten aspects to purify the mind and body. These invocations, drawn from sacred texts like the Ofudesaki, emphasize stabilization and endurance, incorporating folk-inspired elements such as communal harmony and daily hinokishin (voluntary service) to differentiate from orthodox by prioritizing personal spiritual growth and mutual aid over formal shrine protocols.

Depictions in Art and Media

Traditional Representations

In traditional , Tsukuyomi-no-Mikoto is rarely depicted in standalone images. This scarcity underscores the deity's role as a solitary ruler of the night, often alluded to rather than directly illustrated in visual media. When portrayed, he is typically shown as a man riding a , wearing robes and girded with a golden sword. A notable example is a rare antique image of the god. Literary appearances of Tsukuyomi-no-Mikoto are indirect, tied to moon-viewing customs in classical literature. In collections like the Manyoshu, poems on autumnal capture the quiet beauty of the moon. Noh plays occasionally reference celestial siblings in narratives of divine order. prints from the same era portray moonlit landscapes or festivals symbolizing the night's rhythms. During the , artistic representations of the moon emphasized celestial themes, influenced by Chinese lunar motifs of ethereal light and cyclical time. Prints and scrolls in this era often integrated these elements to convey philosophical balance, drawing on syncretic traditions of East Asian lunar symbolism.

Modern Interpretations

In contemporary Japanese pop culture, Tsukuyomi-no-Mikoto frequently appears in video games and as an enigmatic, brooding figure embodying lunar mystery and power. In the Shin Megami Tensei series, Tsukuyomi is depicted as a high-level ruling the night, often serving as a challenging boss with abilities tied to ice and physical attacks, reflecting his mythological isolation after the incident. Similarly, in , the legendary sword Tsukuyomi—named after the god—plays a pivotal role in the narrative, wielded by heroes to combat darkness and restore balance, symbolizing the moon's dual role in illumination and shadow. These portrayals cast Tsukuyomi as an anti-heroic , distant yet essential to cosmic order. Anime and manga further adapt Tsukuyomi into dynamic characters or techniques. In , the "Tsukuyomi" genjutsu is Sasuke Uchiha's signature illusionary attack, drawing on the god's name to evoke inescapable mental torment under the moon's gaze, highlighting themes of and introspection. In , Tsukuyomi emerges as a member of the "Three Precious Children," portrayed as a tall, muscular young man with obscured eyes, emphasizing his aloof demeanor amid divine conflicts. Global adaptations extend Tsukuyomi's influence into Western media, blending Shinto elements with local mythologies. In Marvel Comics' Earth-616 universe, Tsukuyomi is the deceased moon god of the Amatsu-Kami pantheon, possessing flight and dark energy projection, often invoked in stories involving Japanese deities clashing with global heroes. Twenty-first-century cultural revivals, such as Tsukimi moon-viewing festivals, honor the moon through modern innovations like digital art installations. The Moon Art Night in Tokyo's Shimokitazawa district (September 19–October 5, 2025) featured a giant glowing moon installation, painting displays, stamp rallies, and digital art, merging traditional gratitude for the harvest moon with contemporary technology.

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