The Painting "Ghost of Oyuki" – How One Night Three Centuries Ago Began the Yūrei of Modern Horror
The Birth of an Archetype
Oyuki was a young girl working as a geisha in 1760 at the Tominaga house in the city of Ōtsu, Ōmi Province. A beautiful singer, dancer, and artist – she tragically passed away in the bloom of youth. She was loved by a painter named Maruyama Ōkyo.
Not long after Oyuki’s death, still grieving her loss, Maruyama saw her again one night. He awoke in the middle of the night and saw her beside his bed. Sad, with a melancholic yet somewhat reproachful look in her eyes. The contrast between her white face and kimono against the deep black of her long hair, disheveled and draping over her shoulders, heightened the impression of abandonment, neglect, and mourning. She was ethereal, unreal. She floated in the air, with no visible feet. She was a yūrei.
For the talented artist Maruyama, this nocturnal vision became the inspiration to paint the “Ghost of Oyuki” – a portrait of the apparition that had visited him, rendered on silk.
He couldn’t have known it at the time, but by painting "Ghost of Oyuki" – the specter in a white kimono, with a pale face and long, unkempt hair – Maruyama Ōkyo created an icon that would shape the perception of ghosts for centuries. This image became not only the foundation of the Japanese yūrei archetype but also the basis for the modern 21st-century Asian horror, inspiring characters like Sadako from Ring and Kayako from Ju-on. As a symbol of melancholy and vengeful sorrow, the ghostly figure of a woman in white with long black hair has endured as a recognizable motif in both Japanese and global culture, resonating from ukiyo-e and kabuki to films, internet memes, and all of 21st-century pop culture. Today, anyone can easily recognize this motif.
And it all began on that dark night in 1760. Let’s delve deeper into this story!
Let’s Look Closely at the Painting “Ghost of Oyuki”
The painting “Ghost of Oyuki” fascinates with its subtle use of color and delicate form, which impart an almost ethereal, fleeting quality. Maruyama Ōkyo, using ink on silk, achieved a unique effect of translucency that harmonizes with the ghostly theme. The use of silk, a material that demands precise brushwork, allowed Oyuki to seem as if she is floating in emptiness, and the lack of background further intensifies the sense of suspension between worlds. Oyuki’s figure occupies only a third of the rolled silk – a space in which her image appears to emerge, only to disappear just as swiftly, like an ephemeral memory.
A distinctive feature is the contrast between the whiteness of her face and kimono against the deep black of her hair, which, falling loosely over her shoulders, intensifies the impression of abandonment, neglect, and mourning. The black of her hair gradually transitions into light, delicate brushstrokes that fade at the lower parts of her kimono, while the lack of feet – key to the Japanese image of a ghost – deepens the feeling that Oyuki drifts between reality and the afterlife. The brushstrokes on the kimono are simultaneously simple and elegant – fine lines interweave with bolder ones, which gradually fade until the image itself seems to dissolve into nothingness.
In this technique, we can see traces of tsukeitate (付立て), a method of shading without defined contours, which emphasizes the immaterial nature of the yūrei – the spirit is not bound by a distinct line but rather becomes a barely visible shape, constructed from light and shadow. The deep shading on her face and hands creates a subtle effect of chiaroscuro, evoking a melancholic play of light in the twilight that accompanies nocturnal visions. Oyuki appears to wear a delicate, enigmatic half-smile, which on one hand emanates calm, while on the other – seems like a reproach to the one who abandoned or wronged her.
Of particular note is also the extremely precise depiction of the kimono’s texture – even though the painting is simple, Ōkyo skillfully differentiated the material's surface, making it appear both heavy and transparent. This gives the painting an additional dimension of realism, though it still remains the embodiment of spiritual mystery.
Thus depicted, Oyuki is not just a figure but an archetype, a model for future yūrei – an afterimage of lost love, drifting on the border between worlds. It is no coincidence that the painting has inspired generations of artists and permanently imprinted itself in Japanese imagery of ghosts. In “Ghost of Oyuki,” we see how masterfully Ōkyo wielded his technique, creating a portrait more fleeting than any other realistic depiction. It is a painting that we not only view but feel – as though Oyuki could vanish at any moment before our eyes, leaving only a vague memory.
The Story of the Painting and Oyuki
Maruyama Ōkyo was an artist of extraordinary sensitivity and a special passion for realistic depictions of reality. Born as Maruyama Masataka in 1733 (during Japan's Edo period), he came from a peasant family but left his home early and moved to Kyoto, where his artistic path took shape. There, inspired by both Chinese and native painting styles, he gradually developed a unique style that combined realistic observations of nature with the decorative forms of Eastern art. In his works, Ōkyo employed techniques based on studying the real world to capture the essence of objects. Although sometimes considered “too realistic” by contemporary artists, his art gained immense popularity among art lovers, and his “Maruyama school” influenced generations of painters.
However, it was personal experiences that made Ōkyo more than just a realist painter. The story of his love for Oyuki – the young geisha working at the Tominaga house in Ōtsu – became an inspiration for his work. Oyuki was his muse and beloved. Whether they had a true relationship or Maruyama “admired her from afar,” we do not know. We do know that whatever bond they shared ended abruptly. The beautiful Oyuki died at a young age, leaving the artist in deep mourning. His grief for the loss of this close person forever marked his soul and art.
After her death, Oyuki’s spirit haunted Maruyama Ōkyo at night, inspiring him to create one of Japan’s most famous ghost portraits – the first-ever portrait of a yūrei, which has defined how ghosts are depicted in Japanese culture (from ukiyo-e to modern horror). According to legend, one night, Oyuki appeared at the foot of his bed, floating in the silence and moonlight. Still young, beautiful, and delicate, yet lifeless, her face was pale, almost translucent. She wore a white burial kimono, blending with her ethereal figure. She looked like an animated image from another world, and her eyes – dark, filled with some mysterious reproach – seemed to pierce him deeply, reaching into his soul. This apparition was not merely a vision of a deceased beloved but also a collision of the living and the dead, which played a key role in the artist's work, captivating him with its mystery and elusiveness.
After this vision, Ōkyo immediately sprang from his bed, seized by the depth of the experience, grabbed his brush and a silk scroll, and hurriedly painted Oyuki exactly as she had appeared to him. He created a portrait meant not only as proof of his skill but also as a record of a true encounter – a vision he believed was an authentic experience of a spirit’s presence. In his work, he remained faithful to naturalistic principles, creating an image meant to bear witness to the truth of something he had indeed seen, not imagined. His craftsmanship made the image seem a faithful record of an authentic vision and became the archetype of the Japanese yūrei. Oyuki was forever enshrined in a silk portrait that still emanates extraordinary intensity and authenticity.
This commitment to authenticity made the painting "Ghost of Oyuki" more than a work of art. In its faithfulness to detail, from the pale blue light on her face to the fading contours of her lower body, Ōkyo created a portrait so convincing that viewers believed it contained the true presence of the deceased. Thus, the archetype of yūrei was born – a ghost in a white kimono, with a lifeless face and long, disheveled hair, slipping between worlds.
Philosophical and Cultural Interpretation of the Painting
The painting "Ghost of Oyuki" expresses transience in a subtle and moving way, capturing the essence of life's impermanence. The fading elements of Oyuki’s figure – the lack of feet, the misty kimono, and blurred contours – symbolize not only the unreality of her presence but also the inevitability of the departure of all that is material. In Buddhist tradition, the concept of impermanence is foundational for spiritual reflection on human life and its cycle, and Ōkyo’s painting resonates deeply with this thought.
The painting is therefore not merely a depiction of a spiritual vision but also an expression of nostalgia for what has passed, for moments that, though no longer present, still live on in memory. It is a tribute to that which is unattainable and impossible to hold on to, reflecting the Buddhist concept of suffering that arises from attachment to phenomena, which continually change and dissolve like spirits into emptiness.
The image of Oyuki on silk, almost on the border between presence and absence, not only defines the iconography of the Japanese yūrei but also establishes it as a symbolic portrait of souls wandering between worlds. The vision of a pale face, long black hair, a white robe, and the absence of feet became a visual archetype of yūrei, an iconic form that still appears in Japanese culture and art. Yūrei, as the spirits of those who left this world in tragic or sudden ways, reflect deeply rooted feelings of melancholy in Japanese culture – symbolizing sadness, separation, and the journey between life and death, held in a realm where there is neither peace nor full existence. The image of Oyuki thus not only establishes the depiction of yūrei but also their role in the folk imagination – as figures forever trapped between worlds. A sorrowful trace of that which has ceased to be.
Yūrei in Japanese Culture
The term yūrei consists of two kanji: 幽 (yū), meaning "hidden," "obscured," or "invisible," and 霊 (rei), which means "spirit" or "soul." Together, they create the concept of a being existing beyond the visible, yet impacting the world of the living. The term yūrei thus describes a ghost dwelling in a suspended state – a combination of invisibility and mystical influence on reality.
The first documented appearance of such spirits (though under a different name – mono no ke: 物の怪) dates back to the Heian period (794–1185), when ghosts and apparitions began to appear in literature and court chronicles, such as The Tale of Genji by Murasaki Shikibu. There, Lady Rokujō haunts her lover as a spirit, jealous of his romance with another woman. Over time, the term yūrei gained popularity, especially in the Edo period (1603–1868), when folk culture, art, and kabuki theater began to explore themes of ghosts and the afterlife more widely. It was then that yūrei imagery and the concept itself entered the collective imagination of the Japanese people, becoming part of both everyday language and cultural archetype.
Yūrei form a distinctive part of Japanese culture, differing from other supernatural beings, like yōkai. While yōkai encompass a broad category of supernatural entities – from spirits to demons and magical animals – yūrei are specifically the spirits of people who have died tragically or have unresolved issues, preventing them from resting. Yūrei are generally portrayed as figures filled with sorrow or anger, often haunting the living to complete unfinished business. These spirits are traditionally depicted in white funeral kimonos, with loose hair.
Examples of yūrei in Japanese art and literature are well-documented, and the stories of ghosts such as Oiwa and Okiku are among the best-known tales of apparitions. Oiwa, the protagonist of Yotsuya Kaidan (1825) by Tsuruya Nanboku IV, is the spirit of a woman betrayed and murdered by her husband. Her appearance as a terrifying ghost, often depicted in kabuki theater and ukiyo-e prints, continues to inspire to this day. The artist Utagawa Kuniyoshi created a famous portrait of Oiwa in 1836, showing her face ravaged by poison, emphasizing her tragic story. Similarly, the ghost of Okiku, a maid unjustly thrown into a well by her master, appears in numerous artworks, including the famous series One Hundred Ghost Stories by Katsushika Hokusai (1831–1832), where Okiku emerges from the water as a long, snake-like figure.
Yūrei were also a popular motif in kabuki theater, where they appeared in performances full of drama and horror. Plays such as Tōkaidō Yotsuya Kaidan attracted audiences with captivating tales of ghosts and revenge, and yūrei characters were often a chilling symbol of crime and punishment. The character of Kasane, a heartbroken woman whose spirit returns to avenge an unfaithful husband, is another notable example.
Modern Japanese culture still strongly resonates with the yūrei motif, particularly in cinema, especially in the J-horror genre. There are countless examples, one of which is Sadako from the classic film Ring (1998), a character inspired by the yūrei archetype – a woman with long, dark hair and a white garment, whose terrifying entrance into the screen has forever imprinted itself on the audience’s imagination worldwide. Films such as Ju-On (2000) and Dark Water (2002) continue the tradition of portraying yūrei as unsettling, unhappy spirits who return to fulfill their destiny, bringing both horror and melancholy.
Conclusion
The painting "Ghost of Oyuki" remains one of the most recognizable depictions of yūrei in Japanese art, exerting a lasting influence on Japan's visual culture. Its symbolism and aesthetics have become the foundation of the visual archetype of the spirit – a white figure with dark, flowing hair, hovering over the ground in a timeless, melancholic suspension. This depiction of Oyuki, in a delicate blend of beauty and sadness, has endured through the centuries, inspiring contemporary artists, filmmakers, and writers who find in it a universal image of life after death, expressing longing for what is lost and an attempt to understand the boundaries of life and death.
The significance of this painting, however, goes beyond the mere aesthetics of yūrei. Ghost of Oyuki encourages reflection on impermanence, memory, and mourning, which are essential aspects of the Japanese approach to ghosts and the afterlife. In Japanese culture, spirits like yūrei are not only beings haunting the world of the living but also reminders of the fleeting and fragile nature of human life. This is why Ōkyo’s painting touches on memory – showing how the powerful emotions connected to loss can permeate reality. For the Japanese, spirits like Oyuki remain a part of collective memory, where lost loved ones still live on in memories, and contact with their spiritual presence helps to find a sense of continuity and meaning in the face of impermanence.
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