Mt. Hikoひこさん

Ame-no-Oshihomimi, who passes the mission to his child on the Floating Bridge of Heaven, is the deity who brings the Tenson Korin into reality precisely by "not descending" himself. In the *Kojiki* myth of the *ukehi*, Susanoo washes Amaterasu's beads in the Heavenly True Well, crunches them, and blows out a mist from which Masakatsu-Akatsu-Katsuhayahi-Ame-no-Oshihomimi-no-Mikoto is born. His very birth is situated within a ritual concerning objects, belonging, and victory. From the beginning, Ame-no-Oshihomimi is a deity questioned about "whose child he is" and "what he inherits." Amaterasu claims the five male gods as her own children because the *monozane* (source objects) belonged to her. Through this passage, Ame-no-Oshihomimi enters the lineage of Takamagahara as Amaterasu's child. However, the character for "victory" engraved in his name is not a simple mark of triumph. Just as the Kokugakuin University commentary links it to the victory in the ukehi, Ame-no-Oshihomimi's name carries multiple meanings: Susanoo's boast of victory, his belonging as Amaterasu's child, and the emergence of male gods. Victory is not only bright but also requires defining where it belongs. In the Pacification of Ashihara-no-Nakatsukuni, Ame-no-Oshihomimi becomes the first candidate to rule the earth. Amaterasu entrusts the Land of Fresh Rice Ears to him as the land ruled by my child, Masakatsu-Akatsu-Katsuhayahi-Ame-no-Oshihomimi-no-Mikoto. However, standing on the Floating Bridge of Heaven, he sees that the earth is "exceedingly tumultuous" and returns. To read this as a cowardly retreat is to overlook the structure of the myth. Ame-no-Oshihomimi is the first observer to report that the earth has not yet been pacified. Without this report, the council for pacifying Ashihara-no-Nakatsukuni would never have begun. Amaterasu and Takamimusubi gather the gods at the Heavenly River of Tranquility, have Omoikane devise a strategy, and choose envoys. Ame-no-Oshihomimi's role was not to recklessly descend into a chaotic world and fail, but to clarify that the conditions for descent were not yet met. The Floating Bridge of Heaven is the boundary between Takamagahara and Ashihara-no-Nakatsukuni, and standing there, Ame-no-Oshihomimi measures the gap between heavenly commands and earthly realities. After the pacification, Amaterasu and Takagi-no-Kami command Ame-no-Oshihomimi to descend and rule at last. Here, he states that a child was born to him while he was preparing, and suggests that this child should be sent down. This is not a second retreat, but a judgment of succession. By not descending himself and passing the mission to the next generation, Ame-no-Oshihomimi transforms the Tenson Korin into a much deeper story of lineage. The fact that this child is Ninigi-no-Mikoto is highly significant. The *Kojiki* notes that Ninigi is the child born to Takagi-no-Kami's daughter, Yorozuhata-Toyoakitsushi-Hime. Ame-no-Oshihomimi is the child of Amaterasu, marries the daughter of Takagi-no-Kami, and fathers Ninigi. Amaterasu's light, Takamimusubi's generative power, and the Tenson Korin's earthly rule all converge around this single deity. He is not the protagonist of the descent, but the god who gives birth to the protagonist. The history of Hikosan Jingu reconnects Ame-no-Oshihomimi to mountain worship. Its official website states that because the enshrined deity is Amaterasu's child, Mount Hiko was called "the Mountain of the Sun's Child". Furthermore, its divine virtues revere him as a god of rice ears and agriculture who arrived from the east in the form of a hawk, protecting agricultural production, mining, and factory safety, and bringing victory. The heavenly crown prince becomes the guardian of rice, production, and victory in the mountains. The appeal of Ame-no-Oshihomimi lies not in a heroic finishing blow, but in the judgment of succession. Precisely because he bears a name of victory, he does not err in timing his descent just to win. He observes the earthly chaos from the Floating Bridge of Heaven, returns to prompt its pacification, and ultimately passes the mission to his child. This deity understands the value of "not acting." Rather than rushing into an unprepared field, he sets the stage and leaves it to the next generation. That quiet judgment drives the grand myth of the Tenson Korin.

This edition is not about a single seat on a particular sacred mountain, but a general treatise that thoroughly unravels "what a tengu is" from the history of its iconography and types. The individual traditions of each seat are left to the page of each great tengu. The form of the tengu is not uniform. The first type is the long-nosed tengu—ruddy face and high nose, clad in the ascetic's headcloth (tokin) and the suzukake robe, a feather fan in hand and one-toothed high clogs on the feet. The second is the crow tengu, with a crow's beak and wings, grasping a sword or a vajra staff. The third are the lesser tengu called leaf tengu and wood-chip tengu, held to be weak and numerous kin. Rather than a fixed classification, these reflect the breadth of the tengu image across eras and regions. The iconography shifted over time. The Heian-period tengu was first conceived as a bird like a black kite, and the image of the crow tengu retains that vestige. The long nose grows prominent only from the late Kamakura period; the Zegaibō Emaki depicts a scene in which a tengu that had disguised itself as a human has its nose lengthen as it returns to bird form. As for the origin of the long nose, there are theories that derive it from the high-nosed Jidō mask of gigaku and link the crow tengu to the Karura (Garuda) mask, and a view that sees the long nose as an iconographic vestige of a bird's beak—but none can be called settled doctrine. It was overlaid with the god Sarutahiko, described in the Nihon Shoki as having a nose seven hand-spans long, and the custom arose of using a tengu mask for the role of Sarutahiko in festivals. The tengu's dual nature is rooted in the Buddhist notion of the way of the tengu. Because it studies the Buddhist path it does not fall into hell, and because it handles heterodox arts it cannot reach paradise either—an intermediate state, and the one who falls there was held to be the arrogant monk. The Tengu Zōshi depicts this notion as satire of the monks of the seven great temples, yet Chigiri Kōsai too warns that the simplification "only arrogant monks become tengu" goes too far. Demon though it is, once subdued it turns to guardianship, and it was held that if a Shugendō practitioner recites the Tengu Sutra he may summon the tengu of the various provinces to grant his wishes—this amplitude between guardian and demon is the very core of the tengu. The certain medieval source for the grouping called the "Eight Great Tengu" lies in the libretto of the Muromachi-period Noh play Kurama Tengu. The passage in which the great tengu calls up the tengu of the provinces he commands in geographical order—"In Tsukushi, Buzenbō of Hiko-san; in the four provinces of Shikoku, Sagamibō of Shiramine; Hōkibō of Ōyama; Saburō of Iizuna… the host of Zenki of Ōmine, Takama of Katsuragi"—shows that the Eight Great Tengu were rooted in medieval belief and performing arts, not an Edo invention. Still, the composition wavers by source, with a variant that adds Hōkibō of Ishizuchi-san; it is no fixed roster.