Sōjōbō

In Japanese folklore and Folklore, Template:Nihongo is the mythical king and god of the tengu, legendary creatures thought to inhabit the mountains and forests of Japan. Sōjōbō is a specific type of tengu called daitengu and has the appearance of a yamabushi, a Japanese mountain hermit. Daitengu have a primarily human form with some bird-like features such as wings and claws. The other distinctive physical characteristics of Sōjōbō include his long, white hair and unnaturally long nose.

Sōjōbō is said to live on Mount Kurama. He rules over the other tengu that inhabit Mount Kurama in addition to all the other tengu in Japan. He is extremely powerful, and one legend says he has the strength of 1,000 normal tengu.

Sōjōbō is perhaps best known for the legend of his teaching the warrior Minamoto no Yoshitsune (then known by his childhood name Ushiwaka-maru or Shanao) the arts of swordsmanship, tactics, and magic.

Etymology

Tengu statue at Mount Kurama

Most tengu are referred to impersonally.<ref name="ashkenazi 56">Ashkenazi, p. 56.</ref> Sōjōbō is an exception and is one of the tengu that are given personal names and recognised as individual personalities.<ref name="ashkenazi 56"/> The name Sōjōbō originated in a text called Tengu Meigikō, which dates back to the middle of the Edo period in Japan.<ref name="knutsen 95">Knutsen, p. 95.</ref>

The name Sōjōbō originates from Sōjōgatani, the valley at Mount Kurama near Kibune Shrine associated with the Shugenja. It is in this valley that Ushiwaka-maru trained with Sōjōbō in legend. Sōjōgatani means Bishop's valley or Bishop's vale.<ref name="knutsen 114">Knutsen, p. 114.</ref><ref name="de benneville 273">de Benneville, p. 273.</ref> The name of this valley is derived from the ascetic Sōjō Ichiyen.<ref name="de benneville 273"/>

In Japanese, the name Sōjōbō is composed of three kanji: {{#invoke:Lang|lang}}. The first two characters of Sōjōbō's name,Template:Nihongo mean "Buddhist high priest" in Japanese. The final kanji, Template:Nihongo, also means "Buddhist priest" but is also commonly used to mean yamabushi.<ref name="de visser 82">de Visser, p. 82.</ref>

The Template:Nihongo are ascetics from the Shugendō tradition.<ref name="buswell 1019">Buswell et al., p. 1019.</ref> Template:Nihongo incorporates elements of many religious traditions, including Buddhism.<ref name="buswell 812">Buswell et al., p. 812.</ref> Both tengu and yamabushi had a reputation for dwelling in the mountains. Yves Bonnefoy suggests that this contributed to the folk belief that yamabushi and tengu were identical or at least closely connected.<ref name="bonnefoy 286">Bonnefoy, p. 286.</ref>

Other names

Sōjōbō is also referred to by other names and titles that function as names. Sōjōbō is sometimes called the Kurama tengu.<ref name="ashkenazi 56"/><ref name="ashkenazi 271">Ashkenazi, p. 271.</ref> This name references Sōjōbō's mountain home, Mount Kurama. Ronald Knutsen refers to Sōjōbō by the title of Tengu-san.<ref name="knutsen 114"/> Sōjōbō is also named by references to his title as the king of the tengu.<ref name="knutsen 114"/><ref name="davis 41">Davis, p. 41.</ref><ref name="tengu">Tengu no Dairi (ca.1560–1600).</ref> For example, James de Benneville refers to Sōjōbō using the term goblin-king.<ref name="de benneville 273"/> Similarly, Catherina Blomberg says that the titles "Dai Tengu (Great Tengu) or Tengu Sama (Lord Tengu)" are used to name Sōjōbō.<ref name="blomberg 35">Blomberg, p. 35.</ref> Sometimes, Sōjōbō is named using both a title and a reference to Mount Kurama. The Noh play Kurama-Tengu, for example, features a character named Great Tengu of Mount Kurama.<ref name="the-noh.com">"Kuramatengu", The-NOH.com.</ref>

Mythology

Sōjōbō is known for his relationship with the Japanese warrior Minamoto no Yoshitsune in legend.<ref name="cali dougill 125">Cali and Dougill, p. 125.</ref> After Yoshitsune's father was killed in a battle with the Taira clan, the young Yoshitsune was sent to a temple on Mount Kurama.<ref name="davis 41"/><ref name="ashkenazi 97">Ashkenazi, p. 97.</ref> On Mount Kurama, Yoshitsune met Sōjōbō and was trained by him in martial arts.<ref name="ashkenazi 97"/> Yoshitsune became a highly skilled warrior as a result of Sōjōbō's training.<ref name="davis 42">Davis, p. 42.</ref> For example, in the war epic Heiji monogatari (The Tale of Heiji) it is said that the training young Yoshitsune received "was the reason why he could run and jump beyond the limits of human power"<ref name="de visser 47">de Visser, p. 47.</ref>

Portrayal

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Template:Further

Despite his fearsome appearance and the tengu's reputation for causing trouble, Sōjōbō is portrayed as a benevolent figure.

In the tenth and eleventh centuries, de Visser says that tengu were thought to be "a mountain demon" that caused trouble in the human world.<ref name="de visser 43">de Visser, p. 43.</ref> In stories from this period, tengu were portrayed as enemies of Buddhism.<ref name="de visser 43"/> Later, tengu were no longer seen as enemies of Buddhism specifically, but were portrayed as wanting to "throw the whole word into disorder".<ref name="de visser 67">de Visser, p. 67.</ref> According to de Visser, the reason Sōjōbō trains Yoshitsune in martial arts is to start a war.<ref name="de visser 48">de Visser, p. 48.</ref>

In the Gikeiki, a text concerning the life of Yoshitsune, Sōjōgatani or Bishop's valley is described as being the location of a once popular temple that is now deserted except for tengu.<ref name="de visser 48"/> According to the text, when evening approaches "there is a loud crying of spirits" and whoever visits the valley is seized by the tengu and tortured.<ref name="de visser 48"/> A similar phenomenon is called kamikakushi. Kamikakushi involves the kidnapping of human beings by a supernatural entity, such as a tengu.<ref name="foster 135">Foster, p. 135.</ref> It involves the disappearance of a child, usually a boy, followed by their return at a new and strange location and in a seemingly altered state.<ref name="foster 135"/> Cases of kamikakushi can be caused by any yōkai, but tengu are often said to be involved.<ref name="foster 137">Foster, p. 137.</ref> Michael Foster says that the legend of the young Yoshitsune's interaction with the tengu "fits the pattern" of a kamikakushi kidnapping<ref name="foster 137"/>

In the fourteenth century, de Visser says, there is a change from all tengu being portrayed as bad to distinctions made "between good and bad tengu".<ref name="de visser 93">de Visser, p. 93.</ref> Foster says that in variations of the legend of Sōjōbō and the young Yoshitsune, the tengu are portrayed as benevolent and helpful as they attempt to help the young Yoshitsune defeat the clan who killed his father.<ref name="foster 135"/>

Foster quotes dialogue from a work called Miraiki (Chronicle of the Future) to demonstrate the idea of the tengu being portrayed in a more benevolent way. After the subordinate tengu see the young Yoshitsune practising near the temple on Mount Kurama, they explain that their prideful ways prevented them from becoming Buddhas and instead caused them to become tengu.<ref name="foster 134">Foster, p. 134.</ref> Then they say:

But even though this pride caused us to fall into this path, there is no reason we should not know pity. So let us help Ushiwaka, teach him the method of the tengu so he can attack his father’s enemy.<ref name="foster 134"/>{{#if:|

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The portrayal of the tengu, and Sōjōbō specifically, as sympathetic to the young Yoshitsune and his desire to avenge his father, is also shown in the Noh play Kurama-tengu.<ref name="the-noh.com"/> In the play, the Great Tengu represents the figure of Sōjōbō. The Great Tengu says he his impressed with the Ushiwakamaru character, the young Yoshitsune, for his respectfulness and admirable intentions. Not only does he help Ushiwakamaru by training him to become a great warrior and defeat his enemies, he also promises to protect him and support him in future battles.

Classification

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}

Shows the physical differences between the single figure of the more human-like daitengu and group of bird-like kotengu

Sōjōbō is a tengu, which are a type of nonhuman creature in Japanese folklore and mythology with supernatural characteristics and abilities.<ref name="ashkenazi 56"/> Tengu are also considered well-known example of yōkai.<ref name="foster 130">Foster, p. 130.</ref> Yōkai is a term that can describe a range of different supernatural beings. According to Foster, a yōkai can be characterised in a number of ways, such as "… a weird or mysterious creature, a monster or fantastic being, a spirit or a sprit"<ref name="foster 24">Foster, p. 24.</ref>

There are two main sub-categories or types of tengu.<ref name="foster 131">Foster, p. 131.</ref> First, there are tengu with the primary form of a bird and second there are tengu that have the primary form of a human. Tengu of the first sub-category are generally called kotengu but can also be called karasu tengu or shōtengu.<ref name="foster 131"/><ref name="foster 135"/><ref name="knutsen 10">Knutsen, p. 10.</ref> The second sub-category of tengu is called daitengu or "long-nosed tengu".<ref name="knutsen 10"/> As he is described as having a primarily human form, Sōjōbō belongs to the sub-category daitengu.

Daitengu

The daitengu or long nosed tengu represent a later stage in the development of the concept of tengu in Japan. According to de Visser, tengu were first in the form of a bird, then had a human form with the head of a bird, and finally the bird beak became a long nose.<ref name="de visser 44">de Visser, p. 44.</ref> Similarly, Basil Hall Chamberlain says that the beak of the tengu "becomes a large and enormously long human nose, and the whole creature is conceived as human".<ref name="chamberlain 443">Chamberlain, p. 443.</ref> There is no mention of the tengu having long noses in Japanese tales until after the second half of the fourteenth century.<ref name="de visser 44"/> While the kotengu or bird type of tengu came first, the daitengu with the long human nose is more common in modern Japanese culture.<ref name="foster 131"/> Sōjōbō is one of the "eight great dai-tengu" and, of these, one of the three that are most well-known.<ref name="knutsen 95"/>

Characteristics

Sōjōbō wearing clothing of the yamabushi, including the tokin headdress. Other notable features depicted are his long nose and feather fan.

Physical appearance

As a daitengu, Sōjōbō has a primarily human form. Frederick Hadland Davis describes Sōjōbō as having both “bird-like claws, and feathered wings” and "a long red nose and enormous glaring eyes".<ref name="davis 41"/> Similarly, de Visser says Sōjōbō has "sparkling eyes and a big nose".<ref name="de visser 95">de Visser, p. 95.</ref> Sōjōbō is also described as having a long white beard.<ref name="ashkenazi 56"/><ref name="ashkenazi 271"/> Daitengu are described as being larger in overall size than kotengu.<ref name="knutsen 10">Knutsen, p. 10.</ref> For example, in one legend Sōjōbō appears to be a giant from the perspective of a human.<ref name="davis 41"/>

One characteristic that both types of tengu share is their style of dress. Tengu are depicted wearing religious clothing and accessories, especially the clothing and accessories of the yamabushi.<ref name="blomberg 35"/><ref name="foster 131"/> As such, Sōjōbō is often described or depicted with these items and wearing these clothes. The dress of the yamabushi includes formal robes, square-toed shoes, a sword, a scroll, a fan, and a distinctive headdress.<ref name="the-noh.com"/><ref name="knutsen 128">Knutsen, p. 128.</ref> The distinctive headdress worn by yamabushi is called a tokin. A common style of tokin, worn from the start of the Edo period, is a small hat that resembles a black box.<ref name="absolon 98">Absolon, p. 98.</ref> Sōjōbō carries a fan made from seven feathers as a sign of his position at the top of tengu society.<ref name="griffis 113">Griffis, p. 113.</ref> Bonnefoy says that the feather fan carried by tengu may signify the original bird-like features of the tengu<ref name="bonnefoy 286"/> Similarly, Davis says that in the development of the concept of tengu from bird-like to more human-like, “nothing bird-like” was left except for "the fan of feathers with which it fans itself".<ref name="davis 352">Davis, p. 352.</ref>

Supernatural abilities

Another characteristic that Sōjōbō shares with yamabushi is a reputation for having supernatural abilities. Yamabushi often performed various practises in the mountains to try and attain supernatural abilities.<ref name="bonnefoy 286"/> According to folk belief, yamabushi had the abilities of flight and invisibility<ref name="knutsen 113"/> Tengu were thought to be able to spiritually possess human beings, similar to foxes.<ref name="bonnefoy 285">Bonnefoy, p. 285.</ref> Other abilities attributed to tengu include invisibility, shapeshifting, flight, and the ability to tell the future.<ref name="bonnefoy 285"/><ref name="bonnefoy 287">Bonnefoy, p. 287.</ref> Sōjōbō is portrayed as having a reputation for being more powerful than other tengu or being a "match for a thousand"<ref name="kimbrough 2012 4">Kimbrough (2012), p. 4.</ref>

Roles

File:Kobu-tori Jiisan (1929).webm

Mount Kurama chieftain

The daitengu subcategory of tengu is superior to the kotengu in rank.<ref name="knutsen 10"/> Foster says that the different types of tengu were often depicted as being in a hierarchical relationship to one another, with the daitengu "flanked by a posse" of the kotengu who are "portrayed as lieutenants" to the daitengu.<ref name="foster 135">Foster, p. 135.</ref> The higher rank of the daitengu is also shown by the hierarchical structure on the tengu mountains.

In general, tengu of both types are thought to inhabit mountainous areas in Japan.<ref name="blomberg 35"/> Some individual daitengu are linked with specific mountains in Japan and are considered to be the chieftains of the other tengu on that mountain.<ref name="blomberg 35"/><ref name="knutsen 95"/> The mountain that Sōjōbō is said to inhabit is Mount Kurama. According to Knutsen, Mount Kurama is "associated in the popular mind with the tengu".<ref name="knutsen 113">Knutsen, p. 113.</ref> Mount Kurama is located north of the city of Kyōto in Japan. On Mount Kurama there is a famous shrine and temple called Kuramadera, which dates back to 770 AD.<ref name="cali dougill 124">Cali and Dougill, p. 124.</ref> The mountain has connections to the history of both reiki and aikido.<ref name="cali dougill 124"/> Mount Kurama is known as a "new-age power spot" in modern times.<ref name="cali dougill 125"/>

Sōjōbō is considered to be the chieftain of Mount Kurama.<ref name="blomberg 35"/> Blomberg describes Sōjōbō as having "retainers" who "have the form of a karasu tengu".<ref name="blomberg 35"/> An example of the hierarchy of the two sub-categories of tengu is exhibited in the Noh play Kurama-Tengu. In the play, there are tengu characters who are described as menial and are given orders by Sōjōbō or the Great Tengu character.<ref name="the-noh.com"/>

King of the tengu

Sōjōbō and his large feather fan, which signifies his high rank

In addition to role of chieftain of Mount Kurama, Sōjōbō is considered to be the chieftain or king of all the other tengu mountains in Japan.<ref name="blomberg 35"/> Sōjōbō's role as king of the tengu is demonstrated in the Noh play Kurama-Tengu. In the play, the Great Tengu lists his large number of tengu servants, which are not just tengu from Mount Kurama but tengu from other areas as well.<ref name="the-noh.com"/> This demonstrates his authority over both the tengu on Mount Kurama and all the other tengu in Japan. This authority is also shown in a story called The Palace of the Tengu. In the story, the figure of Sōjōbō is called Great Tengu. He orders one of his tengu servants to send a message to summon the tengu chieftains of other mountains on his behalf.<ref name="kimbrough shirane">Kimbrough and Shirane (2018).</ref> These tengu chieftains include "Tarōbō of Mount Atago, Jirōbō of Mount Hira, Saburōbō of Mount Kōya, Shirōbo of Mount Nachi, and Buzenbō of Mount Kannokura".<ref name="kimbrough shirane"/>

Sōjōbō is specifically associated with a place on Mount Kurama called Sōjōgatani or Bishop's valley.<ref name="knutsen 114"/><ref name="de benneville 273"/> According to de Benneville, this area was thought to be "the haunt of tengu, even … the seat of the court of their goblin-king".<ref name="de benneville 273"/> Similarly, de Visser says that some tengu live in “brilliant palaces” and Sōjōbō or the "Great Tengu" was "the Lord of such a palace".<ref name="de visser 95"/> Sōjōbō's tengu palace features in the story The Palace of the Tengu. A character in this story, Minamoto no Yoshitsune, reaches the tengu palace by starting at the bottom of the slope of the temple on Mount Kurama, climbing a path up the mountainside until he reaches coloured walls that lead him to the gates of the palace.<ref name="kimbrough shirane"/> He finds the palace to be very large, elaborate, and decorated with different jewels.<ref name="kimbrough shirane"/> According to the story, the palace contains "hundreds of tengu".<ref name="kimbrough shirane"/>

Appearances

Depiction of a scene from Kurama-tengu that shows the elaborate costume of the Great Tengu character.

Tsukioka Yoshitoshi,The king of the Tengus teaching martial arts to Yoshitsune. 1886. 35.5 × 46.7 cm. Colour woodblock. National Gallery of Victoria, Melbourne.

Utagawa Hiroshige, No. 2: Ushiwakamaru Learns Swordsplay from the Tengu at Sojogatani on Mount Kurama.1832/34. 24 x 35.9 cm. Colour woodblock. Clarence Buckingham Collection, Art Institute of Chicago.

In performing arts

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} The Noh play Kurama-Tengu features an interpretation of the legend about Sōjōbō and Yoshitsune. Template:Nihongo is a genre of traditional Japanese theatre.<ref name="kagaya miura 24">Kagaya and Miura, p. 24.</ref><ref name="salz 51">Salz, p. 51.</ref> Shinko Kagaya and Hiroko Miura say Noh is comparable to opera because of its focus on dance and music.<ref name="kagaya miura 24"/>

In Kurama-Tengu, Sōjōbō is initially disguised as a mountain priest and befriends the young Yoshitsune (called Ushiwakamaru at this age) at a celebration of the cherry blossoms on Mount Kurama. Then the following exchange between the two characters occurs:

USHIWAKAMURU. By the way, you, the gentleman who comforts me, who

are you? Please give me your name.

MOUNTAIN PRIEST. There is nothing to hide now, I am the Great Tengu of Mount Kurama, who has lived in this mountain for hundreds of years.{{#if:|

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After his true identity is revealed, the Great Tengu says he will “hand down the secret of the art of war” to Ushiwakamaru.<ref name="the-noh.com"/> The Great Tengu instructs the menial tengu to practice with Ushiwakamaru. Ushiwakamaru then becomes extremely skilled, as demonstrated by the words of the reciters who say that "even the monsters in the heavens and the demons in the underworld will be unable to beat his elegance with braveness".<ref name="the-noh.com"/> The play ends with the Great Tengu predicting that Ushiwakamaru will defeat his enemies and avenge his father. He then promises to protect Ushiwakamaru before disappearing into the trees of Mount Kurama.

The legend of Yoshitsune learning martial arts from the tengu is also featured in another genre of Japanese drama called kōwakamai. The main element of kōwakamai is performance, but the texts associated with the performances are also significant to the genre.<ref name="kimbrough 2016 cambridge 362">Kimbrough (Cambridge, 2016), p. 362.</ref> The kōwakamai work featuring the legend is called Miraiki (Chronicle of the Future). This work has a similar plot to the literary work Tengu no dairi (The Palace of the Tengu).<ref name="kimbrough 2016 cambridge 359">Kimbrough (Cambridge, 2016), p. 359.</ref>

In literary arts

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} An example from the literary arts of the legend of Sōjōbō and Yoshitsune is the otogi-zōshi story called Tengu no dairi (The Palace of the Tengu). Otogi-zōshi is a genre of Japanese fiction that was prominent in the fourteenth century and up to seventeenth century.<ref name="kimbrough shirane"/> Sōjōbō also independently features in an otogi-zōshi story called The Tale of the Handcart Priest.

In Tengu no dairi (The Palace of the Tengu), a young Yoshitsune seeks out and visits the palace of the tengu. He meets the Great Tengu and his wife, who tell him that his father "has been reborn as Dainichi Buddha in the Pure Land of Amida".<ref name="kimbrough 2016 cambridge 358"/> The story then covers the supernatural journey of the Great Tengu and the young Yoshitsune through the "six planes of karmic transmigration" to visit Yoshitsune's father in the Pure Land.<ref name="kimbrough 2016 cambridge 358">Kimbrough (Cambridge, 2016), p. 358.</ref>

Sōjōbō is not the protagonist of the story The Tale of the Handcart Priest but is mentioned when a group of tengu notice his absence from their gathering. They were gathering to conspire against the character the Handcart Priest and were in need of Sōjōbō's help. A messenger is sent to Sōjōbō to ask for his help, and he tells the messenger that he doesn't want to take part because he has been nearly fatally wounded by the Handcart Priest and "may not survive".<ref name="kimbrough 2012 5">Kimbrough (2012), p. 5.</ref> The other tengu say that they will never succeed without the aid of Sōjōbō and that the Handcart Priest must be remarkable if he was able to wound "the likes of our Sōjōbō".<ref name="kimbrough 2012 5"/>

In visual arts

The legendary relationship between Sōjōbō as instructor and the young Yoshitsune as student serves as the basis of many Japanese woodblock prints. Many of these works were created by artists known for their work in the ukiyo-e genre. Some of these artists include Tsukioka Yoshitoshi, Utagawa Hiroshige, Kawanabe Kyōsai, Utagawa Kuniyoshi, Utagawa Kunisada, and Keisai Eisen.

Related figures

Template:Multiple image Related figures to Sōjōbō include the other two famous tengu, Zegaibō of China and Tarōbō of Mount Atago.<ref name="kimbrough 2016 routledge 530">Kimbrough (Routledge, 2016), p. 530.</ref> Like Sōjōbō, these tengu are daitengu, chieftains of a tengu mountain, and appear in different forms of Japanese art. Kimbrough says that in one version of the Heike monogatari, the tengu Tarōbō is described as the greatest tengu in Japan.<ref name="kimbrough 2016 routledge 531">Kimbrough (Routledge, 2016), p. 531.</ref> In the text Gempei Seisuiki, Tarōbō is described as the first of the great tengu.<ref name="de visser 53">de Visser, p. 53.</ref>

Sōjōbō is also depicted with a similar appearance to other types of supernatural entities. After looking at a drawing of Yoshitsune with a long-nosed tengu, Osman Edwards says that the tengu "has many characteristics in common with the Scandinavian trold".<ref name="edwards 154">Edwards, p. 154.</ref> In Scandinavian folklore, the troll is a legendary monster that, like the tengu, dwells in mountains and forests.<ref name="bann 544">Bann, p. 544.</ref> Secondly, Sōjōbō and daitengu in general are depicted in a similar way to a kami or Shinto deity called Sarutahiko.<ref name="cali dougill 125"/> Ashkenazi says descriptions of Sarutahiko present him as being very tall, having an extremely long nose, and with "mirror-like eyes" that "shone cherry-red from inner flames".<ref name="ashkenazi 245">Ashkenazi, p. 245.</ref>

Modern legacy

One modern legacy of Sōjōbō is his representation in Japanese festivals. According to F. Brinkley, entities from the "region of allegory" are honoured at these festivals alongside deities.<ref name="brinkley 3">Brinkley, p. 3.</ref> At some festivals, decorated shrines devoted to a particular deity or subject are mounted on a wooden cart called a dashi and are carried down the streets in a procession as part of the festival's celebrations.<ref name="brinkley 3"/> At the festival of Sanno in Tokyo, there is a dashi dedicated to Ushiwaka and Sōjōbō.<ref name="brinkley 5">Brinkley, p. 5.</ref> Brinkley says that it was common for the people attending to festival to know the history surrounding each dashi and its subject.<ref name="brinkley 6">Brinkley, p. 6.</ref>

The influence of Sōjōbō is also present in popular culture. Tengu have become a common subject in different forms Japanese media including film, video games, manga, and anime.<ref name="kimbrough 2016 routledge 531"/> One early example is the novel series Kurama Tengu authored by Jiro Osaragi, a series of stories about a covert warrior who assumes the titular title as his vigilante persona.

See also

• Buddhism in Japan
• Eboshi-ori
• Kiichi Hōgen
• Japanese martial arts
• Sacred mountains
• Woodblock printing in Japan

Works cited

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External links

• Sōjōbō Entry from an online database featuring information and original illustrations of the Japanese legendary creatures known as yōkai.
• Kurama-tengu (Long-nosed Goblin in Kurama): PhotoStory Photographs from a performance of the Noh play Kurama-tengu.
• Tengu Part of a digital exhibition called Yōkai Senjafuda by the University of Oregon.
• Ushiwakamaru and the Giant Tengu Photograph of a float depicting Sōjōbō and Ushiwakamaru at a traditional Japanese festival called the Aomori Nebuta Matsuri.