Mt. Tateyamaたてやま

Ubagami is not a mere yōkai, but a divine entity embodying the very structure of Tateyama—a sacred mountain where Hell and the Pure Land coexist. In the Tateyama Mandala, Ubagami is depicted alongside underworld motifs such as Sai-no-Kawara (Children's Limbo), the Sanzu River, and the Blood Pool Hell. She possesses two faces: that of Datsueba, who judges the dead, and that of a savior who sends women off to the Pure Land. From the Middle Ages onward, the Blood Bowl Sutra (Ketsubonkyō) faith propagated the belief that women were destined to fall into the Blood Pool Hell due to the supposed impurity of childbirth. Amidst this profound terror, Ubagami functioned as the sole savior for female believers. It is said that the sixty-six statues lined up in the Ubadō of Ashikuraji reflect the "Sixty-Six Provinces Pilgrimage" (Rokujūrokubu), an ancient practice of dedicating one copy of the Lotus Sutra to each of Japan's sixty-six historical provinces. During the Nunobashi Kanjō-e, the experience of crossing the bridge blindfolded and praying in the darkness is nothing less than a ritualistic death and rebirth—letting one's earthly self die temporarily in order to be reborn anew before Ubagami. The tradition identifying her as the wife of Enma Daio creates a complementary dynamic: while the husband acts as the King of Hell who judges the dead, the wife, Ubagami, serves as the compassionate mother who saves women. This interplay brings a sense of yin-yang balance to the underworld cosmology of Tateyama.

Rather than being a single, independent yokai, the Demons of Tateyama Jigoku are an ensemble cast constituting the underworld as projected onto the sacred Mount Tateyama. The Tateyama Mandala consists of five elements: the founding legend, hell, the Pure Land, the ascetic climbing path, and the Nunobashi Kanjō-e ritual. In the scenes of hell, it is these demons who stoke the cauldrons, herd the dead up the Mountain of Swords, and drown them in the Blood Pool. Notably, Tateyama's hell was not purely a product of imagination, but was based on the actual landscape of Hell Valley—its fumaroles, sulfur springs, and desolate volcanic plains. With Mikurigaike as the Blood Pool Hell and Mount Tsurugi as the Mountain of Swords Hell, the visible natural world was directly translated into the iconography of hell, giving the Demons of Tateyama Jigoku a palpable sense of reality as denizens of that very landscape. The etoki preaching tours by Ashikuraji guides flourished in the late Edo period under the patronage of the Kaga domain, spreading the image of these demons to villages nationwide through the mandala. The tortures inflicted by the demons of hell serve to accentuate the salvation offered by their counterparts, Ubagami and Amida Buddha. The view of the underworld in the Tateyama faith is thus constructed upon this tension between punishment and salvation.