In modern Japan, the word "Shinto" evokes images of magnificent shrine buildings, orderly rituals, and a communal religion that prays for the well-being of local communities. However, beneath this institutionalized "Shrine Shinto" lies a deeper stratum of faith— more primal, more intense, and focused primarily on individual spiritual transformation.

This is the subject of our exploration: Koshinto (Ancient Shinto).

Koshinto does not simply mean "old Shinto." It refers tothe totality of the primordial worldview, nature consciousness, and soul conceptsheld by the people of the Japanese archipelago before Buddhism and Confucianism influenced and systematized their beliefs. At the same time, it also refers to the thought system reconstructed through the National Learning movement since the Edo period and the modern spiritual revival movements seeking to restore "pure Japanese spirituality."

The decisive difference between modern Shrine Shinto and Koshinto lies in where the kami (gods) "reside" and the "distance" between humans and kami.

While Shrine Shinto is based on "buildings (shrine structures)" and"community," Koshinto is grounded in"nature itself" and"individual spirituality."

This fundamental difference demands a major shift in perspective regarding how we perceive shrine spaces, how we relate to the kami, and how we practice faith.

This article delves deeply into six themes while contrasting modern Shrine Shinto with Koshinto.

First, the concept of "sacred space."In Koshinto without shrine buildings, where did the kami dwell, and where did humans encounter them? Through three sacred space concepts—kannabi, iwakura, and himorogi— we explore where the kami resided before architecture.

Second, the "structure of the soul."In Koshinto, humans are not beings with a single "mind." We explain the sophisticated soul model of Ichirei Shikon (one spirit, four souls) and the afterworld concept of the visible world (utsushiyo) and hidden world (kakuriyo) systematized by Hirata Atsutane.

Third, "Shinto practices" as technology.In Koshinto, Shinto was not merely "prayer" but "practice" (gyō)— a technology for transforming body and mind. We introduce two core practices, chinkon (soul calming) and misogi (purification), along with their specific methods.

Fourth, the cosmology of "kotodama" (spirit of words).Beyond the poetic expression "words have souls," we decode Koshinto's linguistic philosophy that holds "words (sounds) are the physical force that creates the universe and alters reality" through analysis of the Hifumi Norito.

Fifth, historical development.We overview how Koshinto has walked through a history of "suppression and eruption"—syncretism with foreign religions, state suppression, and explosive revival.

Sixth, contemporary significance.We consider what suggestions Koshinto can offer in modern contexts of ecology, somatic theory, and philosophy of language.

This article aims to balance academic rigor with accessibility for general readers. The field of Koshinto contains a wide range of interpretations, from legitimate academic research to so-called "spiritual" discourse.

While basing our discussion on historical sources and research as much as possible, we carefully introduce the logic inherent in Koshinto's worldview itself. This may appear "unscientific" from a modern rationalist viewpoint, but for people of the past, it was a definite "reality."

Are you ready? Let us begin our journey into a world where the kami dwelt before shrine buildings.

Most modern shrines have an architectural structure where kami are enshrined in the main hall and worshippers pray from the worship hall. However, from Koshinto's perspective,buildings are not essential. Rather, kami were not beings that permanently resided in artificial structures, but objects to be "invited in" or "perceived" in specific sacred areas.

Koshinto's sacred space concepts are broadly classified into three categories:Kannabi, where entire natural landforms are sacred territories;Iwakura, specific points where divine spirits descend; and Himorogi, temporarily established sacred spaces.

The most fundamental sacred space concept in Koshinto is Kannabi. "Nabi" shares the same root as "nabaru" (to hide), referring to places where kami hide and dwell, or the mountains and forests themselves where divine spirits reside.

Even today, shrines like Ōmiwa Shrine in Nara Prefecture maintain the form of worshipping Mount Miwa itself as the sacred body, without a main hall. This is an example that strongly preserves the Koshinto format. Worshippers offer prayers while looking up at the mountain from the worship hall—the mountain itself is the "kami."

Mountains designated as Kannabi were strictly restricted from human entry as"forbidden grounds" (kinsokuchi) in ancient times. They were "other worlds" governed by different rules from the human realm— sacred territories not to be entered lightly.

While Kannabi represents a vast territory (macro sacred space),Iwakura andIwasaka are devices for inviting divine spirits to descend at specific points for rituals.

Iwakura are massive stones or rock formations where divine spirits dwell. These were considered not mere symbols but physical "vessels" that received divine energy. Also written as "岩座" or "岩坐," they often refer to natural massive stones.

Iwasaka refers to sacred territories artificially demarcated using rocks for rituals. As the character "境" (boundary) suggests, they are barriers separating the sacred from the profane.

Examples like Ama no Iwakura Jingū in Hiroshima Prefecture, where massive stone groups are the objects of worship without shrine buildings, convey Koshinto's "rock worship" in contrast to modern Shinto centered on architecture.

Himorogi are sacred spaces established temporarily in places without rocks or for specific rituals.

Originally, it referred to places where evergreen trees (tokiwagi) were planted around mountains or old trees where divine spirits dwelt, enclosed by sacred fences (tamagaki) to maintain sanctity. Later, it became standardized as erecting evergreen trees like sakaki (cleyera), surrounded by hedges called "aofushigaki."

Even today, the yorishiro (spirit vessel) seen in ground-breaking ceremonies, with hemp and paper streamers (shide) attached to sakaki, is a simplified form of himorogi.

The key point is that himorogi were "temporary" dwelling places. In Koshinto, kami did not always reside there—they were "invited" (kōshin) during festivals and "sent off" (shōshin) when festivals ended. This differs greatly from the modern Shinto sense of kami permanently residing in shrine buildings.

Let's organize the three sacred space concepts of Koshinto and their contrast with modern Shinto.

Modern Shrine Shinto has certain doctrinal guidelines (such as the Keishin Seikatsu no Kōryō) under the umbrella religious corporation Jinja Honchō, though it's said there are no "scriptures" in the strict sense. However, in Koshinto, "traditions" and "direct experience"are valued above written texts (like the Kojiki and Nihon Shoki).

From one perspective, the biggest difference between Koshinto and modern Shinto is defined by"whether or not it has been influenced by other religions."Before Buddhism's arrival, or before being interpreted through Buddhist and Confucian doctrines— such belief systems are called "Koshinto." In contrast, modern Shinto has inevitably syncretized with Buddhist rituals and Confucian ethics through historical changes.

Koshinto also tends to emphasize oral transmission (kuden)and practices as physical techniques over written doctrine. This is because truth is believed to be transmitted not through writing but through "sound (kotodama)" and "form."

In modern Shinto, detailed discussion of soul structure or afterlife processes is rare. In most cases, the deceased are abstracted as "ancestral spirits" (sorei, gosen-zo-sama) and become guardian spirits of the household.

However, in Koshinto (especially in Fukko Shinto after Hirata Atsutane and Honda Reigaku), there exists an extremely detailed soul concept and map of the afterworld. It presents a firm worldview that captures the human inner structure multidimensionally and posits that individual souls persist after death.

The core of Koshinto's understanding of humans is the Ichirei Shikon theory. The human heart or soul is not a single entity, but a model composed of the central "Naohi" (direct spirit) and four functional souls (Ara, Nigi, Saki, Kushi).

These four souls each have unique characteristics and roles, and a healthy personality is formed when they maintain balance. They are also correlated with the Five Elements theory (Wood, Fire, Earth, Metal, Water), suggesting a fractal relationship between the universe's components and human spiritual structure.

This model presents an extremely dynamic view of humanity where"the fierce kami" and "the gentle kami" coexist within humans, with different personas (soul functions) activated according to situations.

Traditionally, Japanese views of death and the afterlife centered on fear of Yomi no Kuni (the land of the dead) and death as defilement. However, Hirata Atsutane (1776-1843), a late Edo period National Learning scholar, reinterpreted Japanese classics while influenced by Christian theology (such as Matteo Ricci's "Tianzhu Shiyi"), establishing a revolutionary afterworld view (Yūmeikai thought).

In his major work "Tama no Mihashira," Hirata Atsutane divided the world into two realms:

Utsushiyo (Visible World): The visible present world governed by the Emperor.

Kakuriyo (Hidden World): The spirit world after death governed by Ōkuninushi-no-Kami.

According to Atsutane's claim, after death, humans don't cease to exist but become "kami" by leaving their physical bodies and migrate to Kakuriyo, where they receive judgment from Ōkuninushi, the ruler of the hidden realm.

The revolutionary point of this thought was stating that"the Emperor's rule is limited to the present world."No matter how much power one held in the present world (including the Emperor), after death one enters Ōkuninushi's jurisdiction and is judged for one's lifetime deeds (including hidden misdeeds and the good and evil in one's heart). This was a radical ideological turn that could be considered "disrespectful" in feudal society.

Mutobe Yoshika, a disciple of Atsutane, further developed this thought and detailed the afterlife process:

First, after death, the soul goes to its Ubusunagami (local guardian deity).

Second, guided by the Ubusunagami, it visits each region's Ichinomiya to have its worldly deeds examined.

Third, it receives judgment from Ōkuninushi in Kakuriyo.

Fourth, the virtuous ascend to "Shinikai" (Divine Rank Realm), while the wicked (those who didn't follow the divine teaching and committed atrocities) fall to "Kyōtokai" (Villain Realm).

Thus, the afterlife in Koshinto is depicted not as the vague ancestral spirit merger of modern Shinto, but as a strict world of "judgment and hierarchy" where individual ethical responsibility is questioned.

In modern Shrine Shinto, worshippers' actions center on standardized procedures like temizu (hand washing), nihaiʼnihakushuʼichihai (two bows, two claps, one bow), and norito chanting. However, for Koshinto practitioners, Shinto was not merely "prayer" but"practice" (gyō)— a "technology" for transforming body and mind.

Here we explain two core practices at the heart of Koshinto—chinkon (soul calming) and misogi (purification)—along with their theoretical backgrounds and specific methods.

Chinkon-hō, or "tama-shizume," is a core practice of Koshinto. This refers not only to comforting the spirits of the dead but also to a technique for calming the unstable souls of the living in the body's center and giving them vitality.

In Koshinto's view of humanity, the soul has a tendency to easily"wander" (akugare) from the body. When the soul rises from the body due to shock, fear, or illness, vitality decreases and one approaches death.

Chinkon-hō is a technique for calling back this wandering soul and firmly bonding (calming) it to the seika tanden (lower abdomen center). In modern terms, it could be described as work that concentrates scattered energy at the body's center to achieve mind-body integration.

The legitimate successors of this chinkon practice are said to beIsonokami Jingū in Nara Prefecture.Umashimaji-no-Mikoto, one of the enshrined deities, is considered the founder of the Chinkon Festival and the ancestral deity of the Mononobe clan.

Isonokami Shrine is also the legendary site of the divine sword (Futsunomitama) that aided Emperor Jimmu and the "Ten Sacred Treasures" (Tokusa no Kandakara)said to have the power to revive the dead.

Even today, the "Chinkon Festival" (Mitama-shizume no Matsuri) is held at Isonokami Shrine in November, where a ritual is performed using "nade-fuda" (calming tablets) to stroke the body and breathe on it to transfer and purify physical and mental pain.

In the Meiji era, Honda Chikaatsu reorganized fragmentary ancient traditions and systematized chinkon-kishin-hō as "Honda Reigaku." One specific practice is Furutama (soul shaking).

Practice method: Clasp both hands together and shake them vigorously up and down in front of the navel. While chanting "Haraedo no Ōkami" and other invocations, shake the soul to purify impurities and activate the soul. With the kiai (spirit shout) "Eeei!", invoke the divine spirit.

"Misogi" originates from the myth where Izanagi-no-Mikoto purified himself at Awagihara in Tachibana no Odo in Himuka, Tsukushi, after returning from Yomi no Kuni (the land of the dead). While it remains formally in modern Shinto as temizu and shubatsu, in Koshinto it is practiced as a more rigorous and internal discipline.

Cold water misogi is a practice of bathing in cold water from rivers, seas, or waterfalls to wash away physical and spiritual defilement (kegare = "ke-gare," spirit depletion).

This is not simply a physical action of "washing away." Through intense stimulation of the skin senses, it has the effect ofbreaking normalized consciousness. The shock of cold water momentarily interrupts daily thought patterns and attachments, serving to reset body and mind.

In "Harai Shugyō" traditions preserved at places like Umeda Shinmei-gū in Osaka,misogi without using water is emphasized. This is performed through distinctive breathing techniques (ibuki) and vocalization (chanting waka poems and norito) in a loud voice.

Mechanism: Similar to the neuroscience of "emotional tears" and "happiness hormone" secretion, breathing and vocalization purify the internal organs and blood, expelling trauma and defilement from within. This practice of sitting in seiza and projecting one's voice from deep in the belly for extended periods can be described as cleansing through "blood and ki".

The ultimate purpose of misogi is not simply to become clean. It is preparing the vessel for hosting divine spirits in oneself (kishin).

In Koshinto, humans are beings capable of becoming yorishiro (mediums) for kami. To heighten this receptive sensitivity, thorough noise removal through misogi is considered essential.

In modern metaphor, misogi is the work of "improving antenna precision." By removing the accumulated dirt (noise) of body and mind from daily life, one becomes able to receive signals (inspiration, guidance) from divine spirits more clearly— this is the essential significance of misogi.

Another important element characterizing Koshinto isKotodama (spirit of words) belief. This goes beyond the poetic expression "words have souls" to a thought system holding that"words (sounds) are the physical force that creates the universe and alters reality."

Even today, the word "kotodama" is used, but in most cases it remains at the moral meaning of "good things happen if you use good words." However, kotodama in Koshinto is a more fundamental concept with cosmological scale.

The most important element in kotodama thought practice is theHifumi Norito. This is a 47-character prayer (without repetition) that continues "hi-fu-mi-yo-i-mu-na-ya..." and at first glance appears to be a sequence of numbers (one, two, three...). However, in Koshinto, it is considered a sacred code describing the process of cosmic creation.

Full text: "Hifumi yoimu naya kotomochi rorane shikiru yuitsuwamu sowota hakumeka uo enisariheteno masu..."

This prayer is not a mere counting song. It is said to represent the universe beginning from "hi" (spirit/sun)and unfolding into "fu" (vibration/wind). In Ise Grand Shrine and Koshinto practices, this prayer is treated as the"purification word" with the strongest cleansing power.

The key point is that divine power is believed to dwell in the phonetics ofYamato kotoba (native Japanese words), not Sino-Japanese (on'yomi). Each sound is a kami, a component of the universe—this is the philosophy.

Interestingly, some modern kotodama research distinguishes between"Kotodama" (言霊) and "Kototama" (言珠/事玉).

Kotodama: Emphasizes intention and emotion, heavy meaningfulness. Sometimes accompanied by a kind of "thick" passion or magical binding force. The power that binds and affects the target the moment words are uttered.

Kototama: Refers to the light quality of sound itself, free flight. Like a "jewel" (tama), it rolls, plays, and endlessly expands meaning— an intellectual and creative function.

From this viewpoint, even seemingly comical "dad jokes" (oyaji gyagu), or internet "phonetic spellings," are reevaluated as advanced linguistic play (the action of Kototama) utilizing the "expanding" nature unique to Japanese.

A comparative cultural perspective is also presented: while English has a "machine language" aspect of fixing meaning unambiguously, Japanese is a "creative language"where strings of sounds generate multilayered meanings.

For example, the word "arigatō" means "ari-gatai" (difficult to exist, rare), but the "sound" itself is said to produce a specific effect on the listener's heart. "The power of sound" beyond meaning—this is the essence of kotodama.

In Koshinto, words can become both blessing (norito) and curse (sorcery). The difference lies in the utterer's intention and the direction words take.

Norito (liturgy) are words offered to the kami, functioning to establish a "contract" or "promise" between kami and humans. They praise the kami and serve as "priming water" to invite divine power to earth.

On the other hand, ju (spell) is the act of directing the power of words toward specific targets (people, things, situations). In ancient times, curses were somewhat tolerated as means of social sanction or self-defense, but were simultaneously treated as extremely dangerous.

Understanding this duality reveals why Koshinto has carefully treated words as "sacred." Words truly have power—therefore, responsibility accompanies their use.

Kotodama thought lives on in various forms today. "Affirmations" in business, "autosuggestion" in sports, "the effect of verbalization" in psychotherapy— all are based on the belief that words affect reality.

Koshinto's kotodama thought provides these modern practices withphilosophical and cosmological depth. Words are not mere communication tools but fundamental forces for perceiving, creating, and transforming the world—this ancient insight remains rich in suggestions for contemplating the essence of language.

Koshinto has always functioned as a counterculture to "official history."Its history is a repetition of syncretism with foreign religions, state suppression, and explosive revival.

Here we overview the historical path Koshinto has walked, understanding the dynamism of its "suppression and eruption."

Since Buddhism arrived in Japan in the 6th century, kami and Buddha coexisted for a long time. Temples were built within shrine precincts, monks chanted sutras before kami, and kami were interpreted as manifestations of Buddha (honji suijaku theory).

During this era of Shinbutsu Shūgō (kami-Buddha syncretism), the very concept of "pure Shinto" was diluted. Kami and Buddha were inseparably bound, and people worshipped both without distinction.

The Meiji Restoration (1868)and the Shinbutsu Bunri (Separation of Kami and Buddha) edicts completely transformed Japan's religious landscape.

Denial of syncretism: Kami and Buddha, who had coexisted for over 1,000 years, were forcibly separated. Temples were abolished, monks returned to secular life, and Buddhist statues and temple bells were removed from shrines. In Nara Prefecture and elsewhere, many temples were destroyed and converted to shrines.

This triggered the movement called "Haibutsu Kishaku" (abolish Buddhism, destroy Shākyamuni), destroying many precious Buddhist cultural artifacts. Political intent to purify Shinto as a "state religion" produced religious violence.

The Meiji government established "State Shinto"for national integration centered on the Emperor. This positioned shrines as state ritual institutions and created a system worshipping the Emperor as a "living god" (arahitogami).

However, this establishment of State Shinto was simultaneously theexclusion of Koshinto elements. Animism, possession, folk magic, and other "superstitions" were rejected, and Shinto was purified into orderly "ritual."

As a result, the original Koshinto fervor and mysticism flowed intoSect Shinto (Tenrikyō, Konkōkyō, Kurozumikyō, etc.) and new religious movements. "Wild Shinto" not recognized by the state was pushed to the margins.

From the Taishō to early Shōwa periods, the religious movement that most extensively developed Koshinto thought was Ōmoto (Ōmoto-kyō).

Deguchi Onisaburō and the "Reikai Monogatari": One of the founders, Deguchi Onisaburō, inherited Koshinto's kotodama studies and Honda Chikaatsu's chinkon-kishin practices while dictating the 81-volume, 83-book "Reikai Monogatari."

This work reinterpreted the myths of the Kojiki and Nihon Shoki for modern times, depicting the structure of the spirit world and the activities of angels (divine messengers) as a grand "modern mythology."Onisaburō, positioning himself as a vessel for the divine, prophesied the coming "Tatekae Tatenaoshi"—a spiritual revolution of the world.

The "Reikai Monogatari" counterposed the ideal of the "divine realm" (spiritual kingdom) against the "reality" of the Imperial Japanese state, preachingspiritual revolution (Tatekae Tatenaoshi).

This ideology of "divine judgment transcending the actual state" directly conflicted with State Shinto ideology. As a result, Ōmoto was subjected totwo waves of intense suppression by the government.

In the First Ōmoto Incident of 1921, the founder was arrested for lese-majesty and newspaper law violations. In the Second Ōmoto Incident of 1935, the sect's headquarters was thoroughly destroyed, buildings were dynamited, and the founder was imprisoned for Peace Preservation Law violations.

After the 1945 defeat, the "Shinto Directive"from GHQ (General Headquarters) ordered the separation of state and Shinto. State Shinto was dismantled, and shrines became ordinary religious corporations.

Ironically, this change made free development of Koshinto thought possible. Released from state control, Shinto would develop in diverse forms.

From the postwar new religion boom, the spiritual movement since the 1970s, to the contemporary "power spot" boom, Koshinto elements have permeated modern society in various forms. This could be called the eruption of "wild spirituality" suppressed by State Shinto.

Today, the term "Koshinto" is used in various contexts, from academic ancient studies to folk spiritual practice and New Age interpretations— its range is very broad.

The important point is that Koshinto is not "a fixed relic of the past."It has always served as an alternative to "official religion," responding to people's spiritual yearnings. In this sense, Koshinto continues to live and continues to appear in new forms.

From the above analysis, we can see that Koshinto is both the "past form" of modern Shinto and a repository of "religious intensity" lost through institutionalization.

If Shrine Shinto is a religion that provides "security, stability, and community," then Koshinto is a religion that pursues "transformation, awakening, and individual spirituality." The two are not in opposition but should be understood astwo poles within the great current of Shinto.

Let us consider from three perspectives what significance Koshinto holds in the modern age.

First, direct communion with nature.Koshinto's attitude of facing nature directly through iwakura and kannabi, without shrine buildings, can be reappraised as an ecological spiritualityin an age facing environmental crisis. The perspective of viewing nature not as "resource" but as "kami" is rich in suggestions for thinking about sustainable society.

Second, the restoration of embodiment.Practices like chinkon and misogi pull faith back from mere "state of mind" to "bodily practice."This is also a notable element in contemporary contexts of mindfulness and somatic theory, providing a channel of wisdom through the body for modern people who tend to be "all in their heads."

Third, the magic of language.Kotodama thought provides a perspective that treats words not as mere communication tools but as programs for reality creation. In the age of SNS and AI, thinking about the power of words— the power to transform reality for better or worse—becomes increasingly important.

Koshinto opens a channel to the "invisible world" (kakuriyo)that modern people have forgotten, and as a device that awakens animistic sensibilities sleeping in the deep consciousness of Japanese people, it still has not lost its function today.

It remains valid as one response to the depths of human existence that scientific rationalism cannot fully explain— questions about the afterlife, the existence of the soul, the relationship between words and reality.

Of course, we do not recommend accepting Koshinto uncritically. It contains outdated worldviews and a history of dangerous political exploitation. However, learning Koshinto's wisdom criticallyand with an open attitudeholds great value for deepening our own spirituality and understanding the roots of Japanese culture.