Fujin and Raijin: The Legendary Gods of Wind and Thunder in Japanese Mythology

In the swirling skies of Japanese mythology, two mighty figures often appear side by side — Fūjin, the God of Wind, and Raijin, the God of Thunder.

With wild hair, fierce expressions, and bodies coiled in swirling clouds, they are more than just deities; they are the very forces of nature made flesh. Feared for their destructive power yet revered for the blessings they bring, Fūjin and Raijin have guarded Japan’s temples, inspired legendary artworks, and thundered their way into modern pop culture.

Today, they are almost inseparable in the public imagination, thanks in part to iconic masterpieces like the Fūjin Raijin-zu Byōbu (Wind and Thunder Gods folding screens).
Yet, in the distant past, these two storm gods followed separate paths — each with their own origins, roles, and stories.

In this article, we’ll explore how their individual histories converged into the paired image we know today, tracing their journey from ancient mythology to enduring cultural icons.

Modern Perception – Fūjin and Raijin as a Pair

An Iconic Duo in Japanese Culture

In contemporary Japan, Fūjin (the God of Wind) and Raijin (the God of Thunder) are almost always imagined together — two inseparable storm gods representing the raw power of nature.

This pairing owes much to the influence of Tawaraya Sōtatsu’s Fūjin Raijin-zu Byōbu (Wind and Thunder Gods folding screens), painted in the early 17th century. In this masterpiece, the two deities face each other across a shimmering gold background: Fūjin with his great wind bag, Raijin with his ring of drums, poised to unleash their forces in unison.

From Fine Art to Famous Landmarks

The image of Fūjin and Raijin together extends beyond the art world. At Tokyo’s Sensō-ji Temple, the towering Kaminarimon (“Thunder Gate”) features giant statues of both gods standing guard on either side of the entrance — a scene instantly recognizable to visitors from around the globe.

The presence of such famous landmarks reinforces the impression that Fūjin and Raijin are two halves of a single whole, making it hard to imagine one without the other in the eyes of both locals and visitors.

Why Wind and Thunder Belong Together

The idea of wind and thunder as a pair is not unique to Japan. In storms, wind and thunder often arrive together, their combined forces capable of both destruction and renewal. This natural connection has been a recurring theme in East Asian art for centuries.

In Chinese mythology and artistic tradition, Feng Bo (the Earl of Wind) and Lei Gong (the Duke of Thunder) frequently appear as complementary figures. Many Buddhist artworks discovered in the Mogao Caves of Dunhuang depict wind and thunder deities side by side, guarding sacred spaces and embodying the balance of elemental forces.

As Buddhism spread across East Asia, these artistic motifs traveled with it, influencing local traditions. In Japan, the concept of a paired Fūjin and Raijin is thought to have originated from these imported Buddhist artworks. Over centuries, this heritage merged with Japan’s own religious beliefs and storm legends, strengthening the image of the two deities as inseparable companions.

Today, whether in traditional scroll paintings, anime battle scenes, or sports mascots, the storm gods still appear together — embodying both the drama of nature and the deep cultural ties between Japan and the rest of East Asia.

Separate Roots in Myth and Religion

Although Fūjin and Raijin are often viewed as a pair today, they were once distinct deities with separate origins, myths, and worship practices.

Fūjin – Master of the Winds

In Japanese mythology, Fūjin’s origins differ by source:

In the Kojiki (Records of Ancient Matters), he is linked to Shinatsuhiko, born from the union of Izanagi and Izanami.
In the Nihon Shoki (Chronicles of Japan), he appears as Shinatobe-no-Mikoto, created from Izanami’s breath as she blew away the morning mist.

By the Heian period (794–1185) and Kamakura period (1185–1333), strong winds were seen as harmful forces causing crop damage, poor fishing, and even epidemics — making Fūjin feared as an epidemic god (yakubyōgami). Festivals and rituals were held to pacify him.

In the Edo period (1603–1868), folklore described him as a malevolent spirit riding the wind, slipping into homes, and breathing illness onto people. During outbreaks, straw effigies of Fūjin were paraded through town to chants of “Okure, okure!” (“Send it away!”) before being cast into rivers or abandoned outside as a purification rite.

In Buddhist tradition, Fūjin is linked to Vāyu, the wind god of ancient India, who rides a horse-drawn chariot, drives away evil, and grants prosperity — a figure that evolved in Japan into a guardian who regulates winds and protects the Dharma.

Raijin – Lord of Thunder

In myth, Raijin’s origins are tied to the underworld. According to the Kojiki, after Izanami died giving birth to the fire god Kagutsuchi, eight thunder deities arose in the land of Yomi (the underworld). When Izanagi saw them, he was so terrified that he fled — chased by the thunder gods.

Another important cultural link is the historical figure Sugawara no Michizane (845–903), a scholar and politician whose death was followed by lightning strikes and disasters in the capital. He was deified as Tenjin, a god of learning and also a thunder deity. In folk tradition, Raijin is often affectionately called Kaminari-sama, blending fear with familiarity.

Artistically, Raijin is commonly depicted as a demon-like figure with horns, wearing a tiger-skin loincloth, and surrounded by drums (raiko) which he strikes to create thunder and lightning. In Buddhist tradition, he parallels the Vedic god Varuna, a deity of water, storms, and cosmic order.

Separate Worship in Shrines and Temples

Historically, Fūjin and Raijin were not always depicted or worshiped together:

Some Shinto shrines enshrined Fūjin alone, particularly in agricultural regions concerned with wind damage and harvest protection.
Others honored Raijin independently for rainmaking, protection against lightning, or as a patron deity of learning through the Tenjin cult.
In Buddhist temples, statues of wind and thunder gods could be placed separately in different halls or gates, reflecting their distinct roles.

The Merging of Two Legends

When we think of Fūjin and Raijin as a pair, the image that often comes to mind is Tawaraya Sōtatsu’s Fūjin Raijin-zu Byōbu, painted in the early 17th century. Yet this was only one chapter in a much longer artistic tradition. Many artists across different eras reimagined the motif in their own unique styles.

Edo Period Interpretations (1603–1868)

During the Edo period, the theme of paired storm gods flourished across painting schools and popular art.

Kano Tanyū (1602–1674) — Created his own Fūjin Raijin-zu Byōbu, showcasing the bold, formal style of the Kanō school.
Ogata Kōrin (1658–1716) — Reinterpreted the motif with softer forms and richer colors, now housed in the Tokyo National Museum.
Sakai Hōitsu (1761–1828) — Painted his version on the reverse of Kōrin’s folding screens, creating a rare “dialogue” between two generations.
Katsushika Hokusai (1760–1849) — Included the storm gods in his Hokusai Manga, portraying them with dynamic movement and humor.
Kawahara Keiga (1786–?) — Produced a design closely resembling Hokusai’s version, reflecting the influence of popular print culture.
Suzuki Kiitsu (1795–1858) — A disciple of Hōitsu, painted the Fūjin Raijin-zu Fusuma (sliding door panels), adapting the motif to architectural space.

Modern and Meiji-Era Revivals (1868–1945)

In the late Meiji period, a revival of interest in the Rinpa school and Sōtatsu’s legacy inspired modern painters to reinterpret the storm gods.

Tomita Keisen (1879–1936) — Created a four-fold screen (Takashimaya Historical Museum) with soft, flowing brushwork.
Imamura Shikō (1880–1916) — Painted a striking two-panel set (Tokyo National Museum) with a bold modern sensibility.
Yasuda Yukihiko (1884–1978) — Produced a two-fold screen (Tōyama Memorial Museum) blending traditional composition with refined realism.
Maeda Seison (1885–1977) — Painted a large single-panel work (Ehime’s Seki Art Museum) with rich color and depth.

These varied works show that the idea of Fūjin and Raijin as a pair was never tied to a single style or period. It evolved over centuries, from the gold-leaf brilliance of the Edo masters to the fresh interpretations of the modern era — always retaining the elemental drama of wind and thunder at its core.

Sculptural Depictions of Fūjin and Raijin

While folding screens and paintings made the pairing of Fūjin and Raijin famous, the two gods have also long appeared as sculptures in temples and gates across Japan. Just like their painted counterparts, these statues span centuries — from medieval masterpieces to modern recreations.

Medieval Origins (Kamakura Period, 1185–1333)

Sanjūsangen-dō (Rengeō-in, Kyoto)
Created by master sculptors of the Kei school, the paired statues of Fūjin and Raijin stand among the temple’s famed 28 guardian deities protecting the 1001 statues of Kannon.
- Material: Wood (yosegi-zukuri technique) with polychrome details
- Design: Fūjin carries his signature wind bag, Raijin wields a ring of drums, both captured in dynamic poses that convey swirling movement.

Functioned as Buddhist protectors rather than purely Shinto deities.

Early Modern Era (Edo Period, 1603–1868)

Sensō-ji Temple, Kaminarimon Gate (Tokyo)
Since the Edo period, the gate has been flanked by large statues of Fūjin (north side) and Raijin (south side), serving both as spiritual guardians protecting the temple from floods and fires, and as iconic symbols for visitors to the capital.
- Roots: The gate, originally known as the “Fūraijin-mon” after the two deities, was first moved to its current southern location in 1635, with statues of the gods placed in side chambers.
- History: It was destroyed by fire multiple times — most recently in 1865 — and stood in ruins for 95 years before its postwar reconstruction in 1960, when the current statues were commissioned by Matsushita Kōnosuke, founder of Panasonic.

Key Characteristics of Sculptural Depictions

Paired Placement: Statues are typically positioned on opposite sides of a gate or hall entrance, symbolizing balance and dual protection.
Consistent Iconography:
- Fūjin: Large wind bag slung over his shoulders, flowing hair and robes.
- Raijin: Surrounded by a ring of drums, often with a fierce, open-mouthed expression.
Religious Function: Initially guardians in Buddhist contexts, later also integrated into Shinto spaces.
Continuity Across Eras: While designs evolve subtly, the core imagery remains remarkably stable from Kamakura times to the present day.

These sculptures, like the paintings, testify to the enduring appeal of Fūjin and Raijin as a visual and spiritual pair — standing as protectors at the thresholds of sacred spaces and symbols of nature’s awe-inspiring power.

Cultural Significance Today

The image of Fūjin and Raijin has endured for centuries, and today their presence extends far beyond temple gates and museum walls — appearing in festivals, merchandise, pop culture, and contemporary art.

Festivals and Folk Traditions

Across Japan, the storm gods are celebrated in vibrant public events.

Aomori Nebuta Matsuri (1993) — Included a large illuminated nebuta depicting the storm gods in dynamic motion, merging traditional artistry with festival spectacle.
Shinjō Matsuri (Yamagata, 2014) — Featured a festival float themed on Fūjin and Raijin, paraded through the streets as part of this UNESCO Intangible Cultural Heritage event.

Their protective and awe-inspiring imagery also appears in festival goods such as koi-kuchi shirts, pouches, drawstring bags, hand towels (tenugui), obi belts, fans, and happi coats — items sold at festivals and fairs that allow participants to “wear” the storm gods as part of the celebration.

Modern Pop Culture

The pairing continues to inspire characters and products in contemporary media.

NARUTO Shippuden 20th Anniversary Figures (2017) — Featured Naruto and Sasuke in Fūjin and Raijin-inspired attire, with Naruto summoning clouds and wind, and Sasuke calling lightning, echoing the narrative power of traditional storm god statues.
Video games, anime, and manga frequently reinterpret the gods, from heroic guardians to formidable adversaries.

Contemporary Art

Artists continue to find new ways to present the storm gods.

Takashi Murakami’s “Fūjin Raijin” — Exhibited at the Kyoto City Kyocera Museum of Art in 2024, Murakami reimagined the gods in a pop-art style with silver leaf backgrounds, replacing the fearsome expressions with whimsical, relaxed “yuru-chara” (mascot-like) charm. This playful approach reflects both continuity with historical art and the rapid shifts in contemporary visual culture.

From solemn protectors in sacred rituals to playful icons on festival streets and global pop culture products, Fūjin and Raijin continue to embody Japan’s ability to blend tradition with reinvention — a reminder that even the most ancient deities can thrive in the modern imagination.

Conclusion – The Enduring Storm

From ancient myths to gilded folding screens, from temple gates to festival streets, Fūjin and Raijin have traveled a long path through Japan’s history.
Once worshiped separately as the masters of wind and thunder, they became an inseparable pair through centuries of artistic expression, cultural exchange, and popular imagination.

Their image has guarded temples from floods and fires, inspired master painters from Sōtatsu to Murakami, and danced through the night on festival floats.
They appear on kimono and happi coats, in anime battles, and even as playful mascots — proof that the storm gods can weather any change in style or era.

In their swirling clouds and crackling thunder, we see both nature’s power and human creativity.
Fūjin and Raijin remind us that tradition is not static: it moves, transforms, and continues to inspire — just like the wind and thunder themselves.