Art and Design Research for the Future: Innovation and Art & Design ; September 26, 2017Conference: Tsukuba Global Science Week 2017Date: September 25-27, 2017Venue: Tsukuba International Congress CenterSponsored: University of Tsukub

HAYASHI Michiko

Tsukuba Repository

 The Vanishing Goddess: A Transformation of a 
Symbolic National Image in Imperial Japan 
Michiko HAYASHI
Faculty of Art and Design, University of Tsukuba 
ABSTRACT 
This presentation attempts to evaluate the visible Japanese national identity through the 
analysis of images of a representative goddess. The goddess, Yamato-hime, created in Meiji 
35(1902), was depicted in various media, such as advertising posters, the pattern of kimono 
fabric, and, of course, in academic paintings, until the Pacific War. Since then, Japan has 
used no specific icon to personify the nation-state, whereas the United Kingdom has 
Britannia, France has Marianne, and Germany has Germania. Why has the Japanese goddess 
vanished? To answer this question, I begin by taking a closer look at the strategy the Meiji 
Government exerted to integrate the nation. In this presentation, my purpose is to clarify the 
direct and indirect involvement of Naimu-shō, the Department of the Interior, in the creation 
of modern images of the goddess. Furthermore, this presentation will argue the extinction of 
this visualized goddess was caused by the dissolution of Naimu-shō that GHQ/SCAP ordered 
in Shōwa 22 (1947).  
1. INTRODUCTION 
The purpose of this study is to clarify the historical context of the vanishing of the Goddess 
as a national icon after World War II, in spite of the fact that the image repeatedly appeared 
in fine art or commercial art during the Meiji, Taishō, and Shōwa eras. 
The author already published a research paper about this goddess, Yamato-hime, and the  
representation of Japan’s national identity. (Hayashi,2016) Yamato-hime was a novel figure 
of a goddess that caricature cartoonist Rakuten Kitazawa had created to commemorate the 
Anglo-Japanese Alliance in 1902. (Figure. 1)The concept of Yamato-hime was imagined 
equal to the goddess Britannia. The outlook of Yamato-hime is evocative of an ancient 
goddess, and her hair style and dress follow the manners and customs of the Jōko period, the 
ancient time of Japan. As a visual equivalence with the British goddess, Britannia, who
wears a helmet and carries arms and a shield, the Japanese goddess, Yamato-hime, has a 
halberd. Both these goddesses were seen as iconographically symbolic of war. 
The most famous goddess of war in Japan is undoubtedly Jingu-Kōgō (Empress Jingu),
who was the mother of Ōjin-tenno (Emperor Ōjin, reign: 270-310 C.E.). Jingu-Kōgō was 
known to have invaded Korea, and to be the Hachiman deity, a goddess of war. She was not 
only depicted in paintings and prints, but also used in designs as an icon on paper money 
and postal stamps after the Meiji Restoration.
    On the other hand, the Imperial Princess of the 11th Emperor, Suinin (reign: 29- 70 B.C.),
Yamato-hime was known as a Mitsueshiro (a supreme priestess who supports the divine 
spirit) to lead Amaterasu-Omikami (the Goddess of the Sun and ancestor of the Imperial 
House) toward the Ise district for the construction of the Ise Jingū Shrine. In addition, there 
was a legend that Yamato-hime aided her nephew, Yamato-takeru, in battles.
We know the  popularity of Yamato-hime and Jingu-Kōgō  from a table of ranking, Kokon 
Teijyo Bijin Kagami (A Ranking of Chaste and Beautiful Women Past and Present) (Figure. 
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 2) The two goddesses were represented in various commercial media, such as tobacco 
posters and kimono patterns. 
        
Figure 1: Kitazawa Rakuten,                               Figure 2: Kokon Teijyo Bijin Kagami   
“The Anglo-Japanese Alliance                                Ranking of Chaste and Beautiful     
 Britannia and Yamato-hime”1902                             en Past and Present) 
2. METHOD 
The visualization of Jingu-Kōgō and Yamato-hime was a parallel event with the systematic 
implementation of State Shinto by Naimu-shō (the Department of the Interior). In this study,
I am using two other approaches by analysis of official documents. The first is about the 
foundation of Yamato-hime no Mikoto Shrine as a Betsugū (associated shrine) of the Ise 
Shrine, after a petition adopted by the Imperial Diet. The second is the so called Shintō Shirei
issued by GHQ/SCAP, the official notification of the “Abolition of Governmental 
Sponsorship, Support, Perpetuation, Control, and Dissemination of State Shinto” after the 
defeat in World War II.  
By examining these official documents, I hope to find the reason for the extinction of 
visual images of this goddess as a national icon. This investigation will also clarify the 
transition of images of goddesses from Meiji 35 (1902) to Shōwa 20 (1945). 
2.1 The foundation of the shrine for Yamato-hime no Mikoto 
Yamato-hime is now enshrined in the Yamato-hime Shrine in Ise city as one of Betsugū 
(associated shrine). Originally, the establishment of this shrine was requested once in the 
Meiji era, but it did not happen. After entering the Taishō era, the Mayor of Ujiyamada City, 
Noriyuki Fukuchi, submitted a petition to the Imperial Diet, and the shrine was finally
established. According to the Seigan Kengi Kankei Bunsho (Petition and Proposal 
Documents) of National Archives of Japan, the opinion “The enshrinement of Yamato-hime”
written by Noriyuki Fukuchi, was submitted by the chairman of the House of Lords, Iesato 
Tokugawa, to the Prime Minister, Shigenobu Ōkubo, and attributed Yamato-hime as a
Mitsueshiro (supreme priestess) for Amaterasu Ōmikami (the Goddess of the Sun).1 Reading 
through the congressional document, this petition  was deliberated on in the second session 
of the petition council in the 36th Imperial Diet, Taishō 4 (1915), but suspended under 
consideration. Three years later, this petition was discussed in the 40th Imperial Diet on 14th
March, Taishō 7 (1918), again. After lively discussion, “The proposal for the enshrinement
of Yamato-hime” from Ikuzo Ōoka was presented to Prime Minister, Masatake Terauchi (in 
office: 9 October 1916 – 29 September 1918), on 20th March, Taishō 7 (1918). In response 
to this, the Minister of the Interior (Naimu-shō), Takejiro Tokonami, declared the 
establishment of the Yamato-hime shrine to the new Prime Minister, Takashi Hara (in office: 
29 September 1918 – 4 November 1921). It was later approved by the government on 4th
January, Taishō 10 (1921), and a ceremony of enshrinement was held. 
1 “Yamato-hime no Houshi no ken”, Seigan Kengi Kankei Bunsho (Petition and Proposal Documents), JACAR: 
A14080694600, National Archives of Japan.
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 2.2 Shintō Shirei, Abolition of Governmental Sponsorship, Support, Perpetuation, 
Control, and Dissemination of State Shinto, 1945 by GHQ/SCAP 
After the defeat in World War II, the GHQ/SCAP declared the “Abolition of Governmental 
Sponsorship, Support, Perpetuation, Control, and Dissemination of State Shinto (Kokka 
Shinto, Jinja Shinto)” on 15th December, Shōwa 20 (1945), which is now known as Shintō 
Shirei.2 The main point of this instruction was the prohibition of support for Shinto by the 
nation, in particular prohibiting the use of public resources and forbidding the teaching of 
Shinto doctrine in state education, and forbidding research on Shinto. The Ise Shrine was
also forbidden for use at national events, as follows: 
1-d. The Religious Functions Order relating to the Grand Shrine of Ise and the 
Religious Functions Order relating to the State and other Shrines will be annuled.
It also instructed the Ministry of the Interior (Naimu-Shō) to dissolve state-sponsored 
Shintoism, especially via abolishing the Jingi-in (the Institute of Divinities).
2-e.The Shrine Board (Jingi-in) of the Ministry of Home Affairs will be abolished, and 
its present functions, duties, and administrative obligations will not be assumed by any 
other governmental or tax-supported agency. 
Particular attention potentially relating to the goddess, can be seen in the following two 
paragraphs: 
1-k. God-shelves (kamidana) and all other physical symbols of State Shinto in any office, 
school, institution, organization, or structure supported wholly or in part by public funds 
are prohibited and will be removed immediately.
2-b. The provisions of this directive will apply with equal force to all rites, practices, 
ceremonies, observances, beliefs, teachings, mythology, legends, philosophy, shrines, and 
physical symbols associated with Shinto. 
In the first Japanese translation the word used for Symbol was Hyōshō (a symbol 
appearing on a surface) and in the final text Shōchō (an abstract symbol). As an example 
of a physical symbol, this instruction listed God-shelves (kamidana), but this symbol 
would of course contain a goddess image as well as a more abstract image as an icon. 
3. DISCUSSION 
From the discussion in the Imperial Diet about the Yamato-hime Shrine, it can be seen that 
Yamato-hime was quite well known to people in the Meiji and Taishō eras. For example, the 
congressman Katsu Kawasaki from Mie prefecture, which contains the Ise Shrine, made a 
statement asserting that “Speaking of Ise Jingu shall recall Yamato-hime”.3 What we can see 
from this proposal is that in celebrating Yamato-hime as an associated Ise shrine, the Yamato-
hime legend was restricted to the position as a Mitsueshiro (supreme priestess) that led 
Amaterasu (the Sun Goddess) to Ise. In the proposal, it is not mentioned that there is a 
genealogy of a "fighting goddess" that supported the wars of the legendary Emperor,
Yamato-takeru. Kitazawa Rakuten's idea that the association of a fighting goddess—
Yamato-hime—is clearly denied by both citizens of Ise and the state during the Taishō era. 
2  SCAPIN-448:1945/12/15, Supreme Commander for the Allied Powers Directives to the Japanese Government 
(SCAPINs), National Diet Library Digital Collections / translation for Japanese: Privy Council document 20th December 
1945, JACAR: A06050896400.
3 “Special government office concerning the god dispute settlement agenda”, The 40th Imperial Parliament House of 
Representatives, 16th March 1918.
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 After that, and until the present, Yamato-hime has been honored only as a Mitsueshiro. As 
already mentioned in the Kindai Gasetsu (Hayashi, 2016), Yamato-hime’s image is held in
copyright by Rakuten himself, who severely insisted on his copyright and sole attribution,
such that expansion in commercial art is hardly seen. The goddess Ryūyō Machida painted 
as a poster in Taishō 7 (1918) is not a Yamato-hime, but a figure reminiscent of Toyosukiiri-
hime wearing a moon icon. In the oil painting, Yamato-hime was depicted during the Pacific 
War. Sanzō Wada’s “Kōa Mandala (Mandala of the Greater East Asia Co-prosperity 
Sphere)” Shōwa 15 (1940) represented as a goddess who holds the Yata no Kagami (the 
eight-span mirror; part of the Imperial regalia) that is a shinto embodiment of Amaterasu.
However, since this painting, there are no works depicting Yamato-hime. 
As mentioned above, the Shintō Shirei, imposed after the defeat, banned the visualization 
of national Shinto. The state was also prohibited from participating in the festival of the Ise 
Shrine. However, after that, the administration of Shinto moved to the Kunai-chō (the 
Ministry of the Imperial Household) after the dissolution of the Ministry of the Interior
(Naimu shō), and the Ise Shrine survived as a private sanctuary of the Imperial Family.
According to Loo's argument, the Shintō Shirei imposed by SCAP restricted the political 
function of Ise, but did not mention the relationship with the Emperor.(Loo,2010)
4. CONCLUSIONS 
The goddess symbolizing Japan was explored in the Meiji era and Yamato-hime with a 
weapon was imagined by Rakuten Kitasawa as a "fighting goddess" to stand alongside 
British Britannia. At the same time the Ministry of the Interior (Naimu-Shō), established the 
State religion of Shinto institutionally. In the Taishō era, the momentum to make a Yamato-
hime Shrine in Ise Jingu intensified, and it was actually built over eight years after the 
petition was submitted to the Imperial Diet. However, in this shrine Yamato-hime was treated 
as a servant of Amaterasu, and any association with war was omitted. During the Taishō and
early Showa periods, Jingu-Kōgō and Yamato-hime were drawn mainly in commercial art 
and on kimono patterns. During World War II, Yamato-hime appeared momentarily in a
painting as a symbol of the Greater East Asia Co-prosperity Sphere, but among the general 
population the impression of Yamato-hime was fixed as an image of a decent, non-martial
Princess. After the defeat of World War II, GHQ/SCAP’s Shintō Shirei policy clearly 
prohibited symbols related to Shinto. Because this goddess, in either martial or non-martial 
form, was clearly a symbol that commingled Shintō and the state it fell under this new 
prohibition and thus could no longer be tasked to represent State Shintō. The image of 
Yamato-hime, could thus no longer be used to represent the country or personify Japan in 
the form of a goddess.
REFERENCES 
Midori Wakakuwa, 2001, Kōgō no shōzō (A Portrait of the Empress), Chikuma-shobo.
Tze M Loo, 2010, “Escaping its past: recasting the Grand Shrine of Ise”, Inter-Asia Cultural Studies,11(3), 
375-393. 
Hiroyuki Emura, 2012, Ise Jingū to Kodai Ōken :Jingu, Saigu, Tennou ga orinashita 600 nen (Ise Shrine and 
Ancient Sovereignty: the 600 years of Jingu, Saigu, and Emperor) Chikuma-shobo.
Michiko Hayashi, 2016, “1910 nen Nichi-ei Hakurankai to Yamato-hime: Nihon wo hyōsyō suru megami zō
no tanjyō to sono haikei” (The Japan-British Exhibition 1910 and Yamato-hime: The birth of the goddess 
representing Japan and its background), Kindai Gasetsu, 25, Meiji Bijutsu Gakkai, 83-101.
Address: Associate Prof. Michiko HAYASHI, Faculty of Art and Design, University of Tsukuba, 
1-1-1 Tennodai,,Tsukuba, Ibaraki, 305-8574, JAPAN 
e-mail: michikohayashi@geijutsu.tsukuba.ac.jp 
TGSW 2017 Art & Design Session Proceedings56


The Vanishing Goddess: A Transformation of Symbolic National Image in Imperial Japan

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