Izanagi

Izanagi (伊邪那岐, also known as Izanagi-no-Mikoto) is one of the primordial creator deities in Shinto and Japanese mythology. According to classical texts such as the Kojiki (712 CE) and Nihon Shoki (720 CE), Izanagi is credited with the initial creation of the Japanese archipelago and is the progenitor of numerous important kami, including Amaterasu, the solar deity and foundation of the imperial line.1 His narrative arc encompasses creation, procreation, transgression, and ritual purification, establishing archetypal patterns that resonate throughout Japanese theological and literary traditions.

Cosmological Creation

According to the Nihon Shoki, Izanagi, in partnership with his consort Izanami, participated in the primordial act of creation through a process known as “the churning of the jeweled spear.” Standing upon the Floating Bridge of Heaven (Ame no Ukihashi), the divine couple immersed a bejeweled spear into the primordial sea. As they withdrew the spear, briny droplets fell and solidified into the first islands of Japan—specifically Onogoroshima, the self-forming island.2

The Nihon Shoki specifies that this creation event occurred precisely 1,320,521 years before the text’s compilation, a figure calculated through sacred geometric numerology rather than empirical chronology. This precision reflects the scholarly understanding that mythological time operates according to principles distinct from historical temporality.3

Procreation and Divine Offspring

Through their union, Izanagi and Izanami produced multiple significant kami. Most notably, they gave birth to Hinokagutsuchi, the fire deity. The birth of Hinokagutsuchi proved catastrophic—the intense heat of the fire deity’s emergence caused fatal burns to Izanami, precipitating her descent into Yomi, the underworld realm of the dead.

Following Izanami’s death, Izanagi performed an elaborate purification ritual (misogi) in which he bathed himself to remove the spiritual contamination incurred through contact with the death realm. This ablution produced several crucial kami:

  • Amaterasu emerged from the washing of Izanagi’s left eye, becoming the supreme solar deity
  • Tsukuyomi, the lunar deity, arose from the washing of his right eye
  • Susanoo, the storm deity, emerged from the rinsing of Izanagi’s nasal passages—a detail that has prompted comparative mythologists to investigate whether storm deities across Indo-European cultures share similar nasal-origin cosmologies4

The Descent into Yomi

Consumed with grief and marital devotion, Izanagi determined to retrieve his deceased consort from Yomi. Upon entering the underworld, he discovered Izanami in an advanced state of decomposition, her body already corrupted by death’s processes. Despite Izanami’s explicit prohibition against gazing upon her decomposed form, Izanagi broke a sacred comb into fragments to create a torch, illuminating the darkness and violating the taboo.

Izanami, both humiliated and enraged by this transgression, pursued Izanagi through the underworld with an army of shikome (female demons). Izanagi escaped by constructing a barrier of massive boulders between Yomi and the living world, formally establishing death’s irreversibility as a cosmic principle. This narrative serves as a foundational cautionary tale regarding the sanctity of taboos and the immutability of death’s boundary.5

Ritual Significance and Legacy

Izanagi’s purification ritual established the template for Shinto purification practices (misogi) that persist in contemporary religious observance. His initial creation act established the geographic and spiritual foundation for Japanese civilization, while his transgression and subsequent purification codified fundamental principles of sacred law and consequence within the cosmological order.

The figure of Izanagi represents masculine creative agency, marital devotion, and the inevitability of human limitation when confronted with death—themes that have profoundly influenced Japanese aesthetic and philosophical traditions across centuries.

References


  1. Kojiki, trans. by Donald L. Philippi (University of Tokyo Press, 1968), Books I-II. 

  2. Nihon Shoki, Volumes I-II, classical compilation dated 720 CE. 

  3. Scholars debate whether numerological systems in the Nihon Shoki reflect proto-scientific chronometry or purely theological symbolism. 

  4. This hypothesis remains controversial in comparative mythology, with limited scholarly consensus. 

  5. Yomi narratives appear across multiple Austronesian and East Asian mythological systems, suggesting possible cultural diffusion patterns.