Morokui-ura

Historical Footprints

The place name ‘Morokui’ cannot be clearly identified in the Izumo Fudoki, as it appears to be embedded within the entry for Haida (modern-day Houda), and the shrine name ‘Shamochi’ does not appear there either. However, the Unyoushi includes Morokui Bay in its Shimane District section, along with the deities Amenokuhishamochi-no-kami and Kuniokuhishamochi-no-kami.

Within the shrine grounds stands an older shrine known as Takaha Myojin. Records suggest that this shrine was transferred to its present location during the Jokyo era (1684–1688), indicating that Shamochi Shrine itself likely dates back to the early Edo period (1603–1868).

The identities of the two enshrined deities are also noteworthy. In the Kojiki, both are categorized as “sea deities” among the kami born during the transition from heavenly to earthly gods. This classification aligns well with Morokui’s coastal setting. It is possible that, during the early Edo period, these deities were selected based on interpretations of the Kojiki combined with local cultural traditions.

There is also a theory that the ‘kui’ in Morokui derives from the names of these deities, particularly the shared element found in Amenokuhishamochi and Kuniokuhishamochi.

The name ‘Shamochi’ appears in historical records written with different characters, leading to some variation in pronunciation. While ‘Shamochi’ is the accepted reading, it may also be interpreted as ‘shamoji’ (a wooden ladle). This association suggests a possible link to the traditional use of gourds or ladles for drawing water, indicating a historical connection to water or irrigation deities.

However, given the coastal environment, it may be more plausible that the name relates instead to marine beliefs, including mythological sea creatures such as sharks or crocodile-like beings. This idea resonates with the ‘wani’ (a sea creature, often interpreted as a shark) described in the Izumo Fudoki.

Pilgrimage Route Guide

Around 1560, during the time of Oda Nobunaga’s Battle of Okehazama, three retainers of Mori Yoshikatsu are said to have died in battle on an island off the coast of Houda, near Shichirui Harbor. Shortly afterward, an epidemic spread through the area, and it was believed to be the result of a curse from these fallen warriors. In response, residents relocated settlements, shrines, and temples to Houda, and in 1685, a shrine dedicated to the spirits of the three warriors was established within the precincts of Shamochi Shrine.

The renowned manga artist Shigeru Mizuki, who grew up in nearby Sakaiminato, visited Morokui during his childhood. The area is said to have influenced his depiction of yokai (supernatural beings), particularly in works such as “NonNonBa.” Morokui is also the hometown of his childhood caregiver, Kageyama Fusa.

In April 2013, a bronze statue titled “NonNonBa and Me,” depicting a young Mizuki and Kageyama, was unveiled at Ichibata Yakushi Temple, a site deeply revered by Kageyama. The ceremony was attended by Mizuki and his family, as well as regional leaders, and included special memorial prayers offered by the temple’s chief priest.

Near the bridge leading to Shamochi Shrine, a wooden commemorative pillar marks the birthplace of Kageyama Fusa, installed by the local community. In addition, signage such as “NonNon Village” and “NonNonBa Legend” has been created through collaboration between the Morokui district and the International Cultural Department of Matsue Municipal Girls’ High School.

This area serves as a unique meeting point between the cultural heritage of the Shimane Peninsula’s Forty-Two Bay pilgrimage and the imaginative world of Mizuki’s yokai.

To the right of Shamochi Shrine, near a small Kojin (kitchen deity) shrine, stands a round, rusted red metal object. This is a naval sea mine, once deployed in the Sea of Japan during the Pacific War as a defensive measure. It is said that one such mine exploded after the war off the coast of Souzu Bay, resulting in the tragic deaths of sixteen young people.