The Sun Goddess Amaterasu, Patroness of Japan

Deutsch/GermanDeutsch / German

Japan plays an important role in the Universal Plan.  A disciple of mine tells you, how the Universal heals into the earthly through feminine joy.

Amaterasu and what does Ayleen Lyschamaya have to do with her?

The sun goddess Amaterasu, patron saint of Japan and ancestress of the imperial dynasty, becomes the main deity, the supreme Kami, and takes over the leadership of the world, because the male leadership has failed. She is often depicted with the shining sun behind her back, a mirror or a sword. The latter is particularly popular in modern pop art depictions. Amaterasu is not warlike, but if need be, she can fight like a man.

After she has established order in heaven, she wants to look after things on earth and encounters resistance. In the end, however, she succeeds in taking power without bloodshed. She sends her grandson Ninigi to earth, to whom she gives five grains of rice that have grown in heaven to plant and nurture on earth (I think this is a very beautiful symbol for divine-earthly interpenetration!). The first Tenno, the Japanese Emperor, emerged from a descendant of Ninigi in a liaison with a dragon princess (in contrast to us, dragons have a more nurturing and protective function in the Far East).

The female creative power from Divine to earthly with masculine-earthly implementation is wonderfully described.

A female sun deity is a rarity in folk mythology, a female main deity even more so. The Germanic peoples had a goddess Sunna, which is why the word sun (die Sonne) is a feminine in German language (in contrast, e.g. French le soleil, Spanish el sol), but normally the sun is masculine and the moon feminine. If peoples imagine a female being as the highest and most venerable being, this has consequences for living together, or it already reflects the existing social structure. In classical Japan, women enjoyed a rare independence, there were several female rulers, female warriors, female artists and literati.

All coexistence, the social structure and spiritual or religious ideas are always the visible expression of the collective consciousness created from Divine to earthly.

With the ever-increasing spread of Buddhism, women were pushed out of all positions, Buddhism demanded male family presidency and male succession. (Buddha himself had wanted to break up the patriarchy ‒ which was particularly brutal in India ‒ but after his death the old structures reasserted themselves). In the end, women even lost their right to exist and lived constantly on probation. This was the situation when Japan opened up to the West in the middle of the 19th century.

The new age now consists of healing the feminine in order to re-establish the göttlich-irdische Liebesflussverbindung (divine-earthly love-flow-connection) in individual and collective consciousness. Thereby, I describe in my travelogue “Spiritual Japan holiday: the decision” how relatively healthy the feminine still is in the collective consciousness of Japan compared to other countries.

Amaterasu, by the way, means “the radiant one”, exactly what the name Ayleen means in German language. 🙂

Berlin, December 23, 2020, Ayleen Lyschamaya and her disciple.
As part of the Christmas Project 2020 (World Love)

What is the significance of dance in Japan?

My disciple explains it to us:


One cannot speak of Amaterasu [the sun goddess] without mentioning Ame-no-Uzume, the goddess of ritual, dance, theatre and in general laughter and merriment. The first time she makes an exposed appearance in the Shinto myth is when Amaterasu has retreated to her cave, offended and hurt. The world darkens and the mood among the Kami [deities] sinks to zero. They discuss what can be done and decide to hold a festival right in front of the entrance to the cave. But the mood doesn’t really want to get going. Then Uzume appears and brings a lot of food with all kinds of delicacies and, of course, plenty of sake. After this has already lightened the mood, she stands on a washing trough and begins to dance. The dance is long and bizarre and towards the end takes on a very revealing note, to say the least. This triggers uproarious laughter among the Kami and Amaterasu wonders, why there is such a good mood outside. Cautiously, she peers out and looks into a mirror prepared for her. There are different versions of what happens next. The realistic one seems to be to me that Amaterasu does not recognise herself in her reflection and thinks it is another, competing goddess. She steps out of the cave to compete with her and in a flash the Kami block her way back. The world is bright again.

A second well-known story is when Amaterasu sends her grandson Ninigi to the earth to pacify it and teach people to plant rice. In the process, Sarutahiko, the leader of the earthly Kami, an extremely ill-tempered patron, gets in his way. Amaterasu asks the Kami to persuade Sarutahiko to give in, but no one is willing to do so, they are all afraid of him. And again it is Uzume, who agrees to take matters into her own hands. What does she do? She stands in front of Sarutahiko, exposes her breasts and starts laughing loudly.

Uzume emphasises the feminine and the heart chakra. The weibliche Spirituelle System (female Spiritual System) is lived, which has no fear of the masculine-earthly out of its universal connection. The masculine-earthly reacts in confusion, because the counterpart for a confrontation is missing. Thus, instead of a confrontation, the inner divine-earthly conflict will be in the person himself.

Sarutahiko is confused, he does not know how to react and in this uncertainty he is ready to listen to Uzume. The universal-female provides guidance. She convinces him to support Ninigi in the future. The end of the story is that Uzume decides to stay on earth and become an earthly Kami. She marries Sarutahiko, founds a clan with him and invents the Kagora dance, one of the most important ritual dances in Japan.

The göttlich-irdische Liebesflussverbindung (universal-earthly love-flow-connection) in consciousness has functioned as female creative force and expresses itself as female joy in dance.

Ame-no-Uzume, which actually means “repulsive woman”, is as un-Japanese as can be, she does what she wants and doesn’t care about conventions. But without her, life would get nowhere at crucial junctures. In most portrayals, she is a chubby woman, which alone seems like a provocation in a country, where there is immense beauty pressure on women. Especially nowadays, when women walk around in very short skirts, slimness is an absolute must and most Japanese women are constantly on a diet.

It is said that the Otafuku mask, which is very popular in Japan and is worn on various occasions, portrays Uzume. Nothing easier than to connect with Uzume: laugh and dance and many problems solve themselves.

Berlin, December 15, 2020, Ayleen Lyschamaya and her disciple.
As part of the Christmas Project 2020 (World Love)

The influence of Musubis female Creative Power on Japan

Japan’s general spiritual openness, the sun goddess Amaterasu as well as the goddess of ritual, dance, theatre and general laughter and merriment Ame-no-Uzume show a still very healthy weibliches Spirituelles System (female Spiritual System). Moreover, “Musubi” even describes the Universal Plan/Universe so originally that I have adopted this term from the Japanese. For the Japanese consciousness, therefore, care must be taken first and foremost not to let it be ruined through outside influences, especially Buddhism.

Christianity plays only a subordinate role in Japan, because the Japanese still feel the universal vastness and perceive the one almighty God as constricting. This reflects the relatively lighter energetic new age soul consciousness of the Japanese in contrast to the older souls of Christianity with a more earthly focus.

Buddhism, on the other hand, teaches this vastness familiar to the Japanese ‒ but in the wrong direction, namely as an abandonment of the earthly. Since new age souls have earthly arrival as their developmental theme, this Buddhist influence is particularly harmful to them.

My task as Musubis female Creative Power is to strengthen the Japanese in their still relatively healthy collective consciousness. That is why, for example, my fairy tale “Gretel and Hansel” was translated into Japanese immediately after English. “Gretel and Hansel” corrects the aberration of the Grimm’s “Hansel and Gretel” towards healthy femininity. Above all, new age souls still regularly perceive the universal energies so directly that they are particularly affected by my conversion of the world from the karmic dominance to the female Spiritual System. The Japanese are supported by me.

Berlin, January 29, 2021, Ayleen Lyschamaya

Note: Buddhism, which is widespread in Japan, has ended due to its lack of love.

neues Zeitalter: die Spirituelle Meisterin Ayleen Lyschamaya der Am-Ziel-Erleuchtung©

What does the new species of Am-Ziel-Erleuchtung© mean?

Nothing more than that you too are offered positive, fascinating experiences that are unknown to the old age. In close personal contact with the final-enlightened(AL) ones or accompanied by the Consciousness Coaches of the Am-Ziel-Erleuchtung©, you can reach the higher level of consciousness of the new age, too, if you wish.

The evolutionary leap is not something to frighten anyone, but a great opportunity for each one of you and for humanity as a whole. Problems that have burdened humanity for millennia, or even those that are completely new, can now finally be solved. For example … continue reading under “new species of Am-Ziel-Erleuchtung©.


Further to Japan in the Universal Plan or the Dimensions of spiritual reality in the new age.
What changes does the world need? See the international magazine “new consciousness”.



One thought on “The Sun Goddess Amaterasu, Patroness of Japan

  • September 24, 2021 at 11:45 am

    Musubi ‒ the universe

    My disciple: I have always had reservations about the way the term “universe” is used by Am-Ziel-Erleuchtung©. It has no tradition and no such potential in Europe. In Christianity, God is the creator of the universe. The universe itself is not a subject, has no will. In the natural sciences, the universe is the sum of what exists, what reacts with each other, but without a plan. This universe as a planning and creating subject is not an Indian concept either. Brahma is the subject, but Brahma is not the universe. And Maya plays it’s game without any goal.
    But in Shintoism, there is indeed that, a universe that keeps linking its own energy coordinates to move the world forward. So it’s different from the idea that the universe is a reservoir of energy that you can tap into and shape at your own will. And it is really about the world, about the divine-earthly interpenetration. This universe is called Musubi (結び), which is best translated as power to create. It is a dynamic universe, not a cosmos ordered a priori and for all time. Nevertheless, it has a plan. The Musubi universe is constantly manifesting. It is the institution that persuades or drives all things and beings to connect and re-manifest.

    Ayleen: The Am-Ziel-Erleuchtung© means an evolutionary leap in development that is so new that suitable terms are lacking. I have chosen the term “universe” as the least loaded yet, even though Johannes’ objections are valid. Moreover, there is a danger of confusion for “universe” in my scientific articles such as “The Theory of Everything with Mass-Independent Gravitation and Dynamic Gravitation Theory as the World Formula”. Since Musubi expresses what is meant by the Universal Plan of Am-Ziel-Erleuchtung©, we will use the term “Musubi” in parallel and as an alternative. However, as long as this word is not yet generally known in Western culture, I will predominantly use Universe-Musubi, also depending on the context, in order to be understandable.

    Berlin, December 28, 2020, Ayleen Lyschamaya and her disciple

Comments are closed.