Tenrikyo is a spiritual tradition that emerged in 19th-century Japan, founded by Nakayama Miki, who is revered as the Shrine of God. At the heart of Tenrikyo is the belief in Tenri-Ō-no-Mikoto, the single, benevolent deity who is both the creator and sustainer of the universe. Unlike the transcendent and often judgmental gods of many other traditions, Tenri-Ō-no-Mikoto is seen as a loving and nurturing parent, guiding humanity toward a joyful existence.
The concept of God in Tenrikyo is deeply intertwined with the idea of joyousness and harmony. Tenri-Ō-no-Mikoto created human beings out of divine love, intending for them to live in a state of happiness, cooperation, and gratitude. This divine will is expressed through the notion of "Yōki-gurashi"—the Joyous Life. This central tenet teaches that suffering arises not from divine punishment but from misalignment with the natural order and the forgetfulness of human gratitude towards the Creator. Tenrikyo promotes purification of the mind as a means to align oneself with divine intention, fostering a world where mutual respect and selfless acts become the highest spiritual offerings.
The presence of Tenri-Ō-no-Mikoto is not distant or abstract but manifests within daily life. Devotees believe that the deity communicates through revelations, guiding humanity toward spiritual awakening. These teachings, known as the Ofudesaki, were recorded by Nakayama Miki under divine inspiration, shaping the core philosophy of Tenrikyo. Unlike many scriptures filled with commandments and prohibitions, the Ofudesaki focuses on encouragement, guidance, and the reassurance of divine benevolence.
Art in Tenrikyo is a direct reflection of its theology. Traditional Japanese aesthetics, with their emphasis on harmony and simplicity, align naturally with the Tenrikyo belief in a life unburdened by material excess or selfish desire. Calligraphy plays a significant role, as the Ofudesaki was originally written in poetic form, blending spirituality with artistic expression. Each stroke of calligraphy serves as a meditative act, embodying the principle that beauty and devotion are deeply intertwined.
Beyond traditional visual arts, Tenrikyo’s spirituality is vividly expressed in performance art, particularly through music and dance. The ritual dance known as Kagura is one of the most significant artistic expressions in Tenrikyo. It is performed at the Jiba, the sacred centre of the faith, and represents the divine creation of humanity. The dance movements are symbolic, depicting the acts of shaping and sustaining the world, mirroring the nurturing role of Tenri-Ō-no-Mikoto.
Music in Tenrikyo also serves as a vehicle for divine connection. The faith has its own distinctive form of hymnody known as the Mikagura-uta, a set of sacred songs that form the backbone of worship services. These hymns are performed using traditional Japanese instruments such as the shamisen, the kokyū, and the taiko drum. The melodies are repetitive and soothing, reinforcing the central theme of joyousness and gratitude toward the divine. Singing these hymns is considered an act of spiritual purification, aligning the hearts of worshippers with the will of Tenri-Ō-no-Mikoto.
Beyond formal worship, Tenrikyo encourages creative expression in everyday life as a means of spiritual elevation. Many followers engage in crafts, poetry, and other forms of artistic practice to reflect their inner joy and gratitude. There is a strong emphasis on communal activities, as the Joyous Life is not an individual pursuit but a shared experience. Art in Tenrikyo is not confined to the temple; it manifests in the way believers interact with the world, whether through the careful arrangement of a garden, the preparation of a meal, or the sharing of kind words.
Tenrikyo’s philosophy has also found its way into literature and theatre. Several modern Japanese writers have drawn inspiration from Tenrikyo’s teachings, incorporating themes of divine love, moral refinement, and human interconnectedness into their works. While not as dominant as other religious motifs in Japanese literature, Tenrikyo’s influence can be seen in stories that emphasise personal transformation and communal responsibility.
Theatre, particularly Noh and Kabuki, has occasionally been infused with Tenrikyo’s spiritual principles, particularly in its focus on purification and redemption. The dramatic elements of these performances often explore the tension between ignorance and enlightenment, a core theme of Tenrikyo’s belief in purifying the mind. While not explicitly Tenrikyo-based, many of these traditional performances resonate with the faith’s emphasis on spiritual clarity and the triumph of joyousness over suffering.
Film, while not a dominant medium in Tenrikyo expression, has occasionally engaged with the themes of divine guidance and joyous living. Some contemporary Japanese films echo Tenrikyo’s teachings, particularly those that highlight the redemptive power of kindness, communal living, and overcoming adversity with faith and perseverance. Although mainstream cinema does not explicitly depict Tenrikyo’s theology, its core messages often appear in the narratives of human resilience and the search for harmony in modern society.
Ultimately, Tenrikyo’s view of God is one of profound intimacy and care. Tenri-Ō-no-Mikoto is not a ruler to be feared, but a loving parent who desires the happiness of all people. This concept radically transforms the relationship between the divine and the human, shifting it away from hierarchy and towards a model of nurturing guidance. The artistic expressions of Tenrikyo, whether in music, dance, or literature, all serve as echoes of this divine love, reinforcing the faith’s ultimate goal: a world where all people live in joy, gratitude, and harmony with one another.
