‘Daikokuten embodies Japan’s cultural evolution through his unique and multifarious blend of culture, religion, and philosophy.’
As the excitement of the New Year gives way to the inevitable January blues, many of us find ourselves in an all too familiar slump. Following a season of indulgence, we have full stomachs and empty wallets by spring, perhaps even wish- ing for a magical fix to recover our bank balance. While no deity of banknotes exists, cultures around the world have long turned to gods as symbols of good fortune.
Among these deities is Daikokuten (大黒天), the Japanese god of wealth. After the establishment of the Bank of Japan in 1882, a series of banknotes featuring Daikokuten (sometimes expressed as Daikoku) was issued. Although descriptions of the design in both the Standard Catalogue of World Paper Money and the Banknote Book label the figure as the ‘god of wealth’, a closer examination reveals a much more complex character. Although not the first deity to appear on national paper money, Daikokuten embodies Japan’s cultural evolution through his unique and multifarious blend of culture, religion, and philosophy.
Rice, Rats, and the Industrial Revolution
The Bank of Japan 1885-1886 Silver Certificate Issues, commonly known as the Daikoku issues, consists of only 4 denominations: 1, 5, 10 and 100 Yen (Standard Catalogue of World Paper Mon- ey 22-25, Banknote Book 301-304). The obverse of the 1 Yen note (Standard Catalogue of World Paper Money 22, Banknote Book 301) is pale blue with Japanese characters in black, contrasted by the red stamp of the Bank of Japan. On the right, a jolly Daikokuten is seated atop two large bales of rice. He holds a mallet in one hand and supports a sack slung over his shoulder with the other. At his feet, three rats gather around the rice bales, one reaching up with a paw extended in reverence or curiosity towards the god.
Daikokuten’s association with both agriculture and wealth stems from his dual roles in Japanese culture. His bales of rice represent the sustenance essential to Japan’s agrarian society before its industrial revolution. Rice farming was central to Japanese life, serving not only as a staple food but also as a form of currency under the feudal system (The Making of Modern Japan, Marius B. Jansen, 2002). This system was governed by provincial daimyo (feudal lords) who often imposed heavy taxes. The Meiji Restoration in 1868 marked a turning point in Japan’s modernisation. The feudal daimyo era gave way to Imperial power and centralised governance, spurring wide reform in education, industry, and finance (Jansen, 2002). Before the Bank of Japan, the financial system relied on smaller regional banks or merchant lenders. Whereas a centralised financial institution provided the stability and efficiency to support rapid development. The 1885-1886 Silver Certificate Issues were introduced during this transformative period in the country’s financial and political landscape. The choice to feature Daikokuten was significant as he embodied the vital bridge between agriculture and commerce.
Another central symbol to Daikokuten is the rat. They are often employed as his messengers and he is sometimes depicted riding one as you would a horse. In many Asian cultures, rats are associated with prosperity due to their adaptability and rapid reproduction. Their industrious nature mirrors the values which a developing society would strive for. Finally, his magic mallet, literally the ‘tap-appear mallet’ (打ち出の小槌), symbolises material wealth and hope. Similar to Aladdin’s lamp or Thor’s hammer, Daikokuten’s mallet carries its own mythological significance. It has the power to grant wishes and make things appear, which would be the envy of any auctioneer with an ordinary wooden gavel. In one Japanese legend, the magic hammer was used to help a boy who is only one inch tall—similar in essence to the British folk tale of Tom Thumb. Together, the symbols of rice bales, rats, and the mallet demonstrate the connection between agricultural success and economic stability in a traditionally rural society.
Fearsome Protector to Friendly Deity
Daikokuten’s evolution from a fearsome pro- tector to a benevolent god exemplifies the syncretism of religious and philosophical tra- ditions in Japan. His origins trace back to the Hindu god Mahākāla (also known as Mahākāla Bhairava, the ‘destroyer’), a malevolent form of Shiva. Depicted with flaming hair, sharp teeth, and wearing a belt or necklace of human skulls, he is often accompanied by demons and adopted this figure as one of the dharmapālas– wrathful deities charged with protecting the harmony of life. Though menacing in appear- ance, Mahākāla’s role is more closely associated with enforcing morality than malice.
Mahākāla was introduced to Japan in the mid-6th century CE through Buddhism (Encyclopedia of Buddhism, Damien Keown and Charles Prebish, 2010). In Japan, he shared characteristics with the deity of agriculture and nation-building Ōkuninushi from the indigenous Japanese religion Shinto. Over time, these two figures merged to become Daikokuten. The fusion of these stories is well summarised by Professor Yijiang Zhong, who argues that the development of early modern Japan pushed the conflation of the figures Ōkuninushi with Daikokuten (Mahākāla) to meet the societal needs for protection from the uncertainty of business investments (The Origin of Modern Shinto in Japan, 2016). Thus, Daikokuten represents not only industrial and economic transformation but also a broader cultural trend of imported and indigenous beliefs imps (Encyclopedia of Ancient Deities, Patricia Turner and Charles Coulter, 2000). Buddhism blending together to better address a changing society.
The Seven Lucky Gods
Daikokuten is part of the Seven Lucky Gods (七福神), a group of deities representing various virtues and domains, collectively providing spiritual guidance in all walks of life. These gods originate from a mix of Buddhist, Shinto, and Taoist beliefs, reflecting cultural influences from Japan, China, and India (Myths & Legends of Japan, F. Hadland Davis, 1912). Their popularity arguably stems from their accessibility; worshippers could choose the deity most relevant to their needs and pray privately, rather than strictly through rituals or temple ceremonies. Historically, different social groups worshipped individual gods as patrons of specific industries (The Seven Lucky Gods of Japan, Reiko Chiba, 1995). Daikokuten, for example, was revered by farmers and traders. Whereas Benzaiten (弁才天)–the only female Lucky God–was chosen by artists, writers, dancers, and geisha. Benzaiten also has roots in Hindu and Buddhist heritage. As the patron god of the arts, she is often depicted with a traditional Japanese lute used for songs and storytelling.
My favourite of the Seven Lucky Gods is Fukurokuju (福禄寿), representing wisdom and longevity. He is depicted with a crane, deer or tortoise. There is some confusion between Fukurokuju and another lucky god, Jurōjin. As both originate from the same Taotist legends, they are considered by some to be related and by others to be two versions of the same deity, often used interchangeably within the group (Faith and Power in Japanese Buddhist Art 1600-2005, Patricia J. Graham, 2007). Fukurokuju is perhaps the most powerful of the Seven Lucky Gods, as he is the only one with the ability to resurrect the dead. He walks with a staff, around which is tied a sacred book or scroll which reports the lifespan of all living things. His bulbous head represents his immense intelligence, while his large earlobes, reminiscent of the Buddha, are considered highly auspicious.
Daikokuten is frequently paired with Ebisu (恵比寿), the god of fishermen and commerce. Interestingly, Ebisu has also featured on Japanese banknotes. In an earlier series issued by the Great Imperial Japanese National Bank, Ebisu was depicted with a fish and rod on the reverse (Standard Catalogue of World Paper Money 20- 21, Banknote Book 206-207). Ebisu is the most popular household god and, in some legends, he and Daikokuten are said to be father and son. They are most likely paired together due to their complementary associations of land and sea. It is believed that the merchant class was the first to worship the Seven Lucky Gods, making it understandable that the most popular deities are those who look over business (Chiba, 1995). Together, Daikokuten and Ebisu personify farming and fishing, both essential for Japan’s prosperity.
The Honorary God of Banknotes
Daikokuten’s presence in Japanese banknote design is far more than ornamental. The group of gods he belongs to represent a typically Japanese blend of Chinese, Indian, and folk beliefs. And Daikokuten embodies a transition from Japan’s agrarian roots to its ambitious cultural and industrial reform, a symbol of the interconnectedness of tradition and progress. His jolly appearance and humble imagery hide a complex and menacing past. As a result, I would advocate for Daikokuten as one of the best cultural symbols to have on paper money. Of all the deities of wealth, he is the best choice for an honorary god of banknotes. He reminds us to value not only material riches, but the harmony and effort that sustain them.
By Olivia Collier