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Kojiki

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The Kojiki is a foundational Japanese chronicle. It is widely considered the oldest extant literary work in Japan.

This text is a complex collation of various traditions. It includes myths, legends, hymns, and genealogies. It also contains oral traditions and semi-historical accounts. These stories explain the origins of the Japanese archipelago. They also describe the kami, which are the deities of Japan. Furthermore, the text traces the lineage of the Japanese imperial line. It serves as a vital window into ancient Japanese thought and identity.

The creation of the Kojiki involved several distinct stages of preservation. Long before the book was written, different clans kept their own records. These included genealogical and anecdotal histories of the imperial Yamato court. In 620, Prince Shotoku and Soga no Umako led a concerted effort to compile history. They created documents like the Tennōki, the "Record of the Emperors." They also produced the Kokki, or "National Record." However, many of these early documents were lost. A fire during the Isshi incident of 645 destroyed the estate of Soga no Emishi. This event destroyed the Kokki and other fundamental records.

To prevent further loss, Emperor Tenmu took specific steps. He ordered a review of clan documents during his reign from 673 to 686. He commissioned a court attendant named Hieda no Are to help. Hieda no Are had an exceptional memory. He memorized the oral traditions and records regarding the imperial lineage. This information was preserved orally until the reign of Empress Genmei. On the 18th day of the 9th month in 711, she issued a new order. She commanded the courtier Ō no Yasumaro to record the knowledge held by Hieda no Are.

Ono-Yasumaro
Ono-Yasumaro

Yasumaro wrote the information in Classical Chinese. He presented the completed work to the Empress on the 28th day of the 1st month in 712.

The Kojiki is structured into three specific parts. The first section is the Kamitsumaki, or the "First Scroll."

This part focuses on the Kamiyo, or the "Age of the Gods." It covers the deities of creation and the birth of various gods. The text also contains dozens of short songs and poems called uta. These poems are often spoken by gods, heroes, or early rulers. While much of the text uses Classical Chinese, the songs use man'yōgana. This is a system where Chinese characters represent Japanese syllables phonetically. This unique writing style allows the ancient sounds of the language to remain.

Historians suggest several motives for this massive compilation. One primary goal was to justify the rule of the imperial Yamato polity. The narrative portrays the imperial line as the progeny of heavenly deities. This gave the rulers a divine right to the land. The text also sought to unify different interest groups. By including various clan genealogies, the state could bring them under one national identity.

Shirousagi -02
Shirousagi -02

This helped reorganize noble families into a new system of ranks and titles. Additionally, the work arose as a reaction to the influx of foreign culture. The leaders needed an authoritative account of their own origins.

Despite its importance, the Kojiki experienced periods of obscurity. During the Heian period, the Nihon Shoki was more widely studied. The Kojiki was often treated only as an ancillary or secondary text. By the Kamakura period, very few people had access to it. This neglect meant that the earliest surviving manuscripts date to the late 14th century.

Kojiki kan-ei-ban
Kojiki kan-ei-ban

The advent of printing changed this in the early modern period. The first printed edition, the Kan'ei Kojiki, appeared in Kyoto in 1644. Later, the Edo period saw a major reappraisal of the text. Scholars of the Kokugaku movement viewed the Kojiki as a sacred repository of Japanese identity.

One scholar, Motoori Norinaga, transformed the study of the Kojiki. He began a deep study of the text in 1763.

Motoori Norinaga self portrait
Motoori Norinaga self portrait

Over 34 years, he wrote a massive 44-volume study called Kojiki-den. Norinaga believed the Kojiki was a more trustworthy source than the Nihon Shoki. He argued it was free from "Chinese mentality." He saw it as a way to reveal Japan in its ideal, harmonious state. His work ensured the Kojiki held a status equal to other major histories. In the modern era, the text continues to be studied through various academic lenses. It is compared to Western epic literature and analyzed through linguistics and comparative mythology.

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🖼️ Images & Media (9)
File:Ono-Yasumaro.jpg
Ono-Yasumaro.jpg
File:Shinpukuji-bon_Kojiki_(真福寺本古事記).png
Shinpukuji-bon_Kojiki_(真福寺本古事記).png
File:Kojiki kan-ei-ban.jpg
Kojiki kan-ei-ban.jpg
File:Kojiki den.jpg
Kojiki den.jpg
File:Motoori Norinaga self portrait.jpg
Motoori Norinaga self portrait.jpg
File:Origin of the Cave Door Dance (Amaterasu) by Shunsai Toshimasa 1889.jpg
Origin of the Cave Door Dance (Amaterasu)...
File:Shirousagi -02.jpg
Shirousagi -02.jpg
File:Bentenjima on Inasa Beach.jpg
Bentenjima on Inasa Beach.jpg
File:Hoori and Toyotama-hime.jpg
Hoori and Toyotama-hime.jpg
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