A Comparative Study of Islamic Theology and Hayao Miyazaki’s Princess Mononoke in the Context of Nature and Human Responsibility

Authors : Elmas Gülhan Gençdoğan

Pages : 125-147

Doi:10.37697/eskiyeni.1790829

View : 185 | Download : 592

Publication Date : 2025-12-31

Article Type : Research Paper

Abstract :Within the framework of Islam kalāmic cosmology, the world is understood as a manifestation of Allah\\\'s creative act, while the human being is positioned as a responsible agent within this divine order. This study departs from the view that kalām approaches the relationship between humanity and the world not only through metaphysical accounts of being but also by highlighting humanity’s moral responsibility toward the created order. Within this framework, it offers a comparative analysis of the conception of nature depicted in Hayao Miyazaki’s film Princess Mononoke. Drawing on the theoretical foundations of Islamic kalām, the study examines key concepts such as ḥudūth, jawhar-araḍ (substance and accident), ghāya (purpose), and niẓām (order), alongside the notions of khilāfa (vicegerency) and amāna (trust), in comparison with elements of nature represented in the film. In Islamic thought, nature is created as a divine act, ordered with ḥikma-that is, imbued with meaning and aligned with divine will and proportion-and entrusted to humankind. Accordingly, the human is not granted absolute authority over nature, but is instead positioned as morally accountable to the God. Theological theories such as the proof of ḥudūth, the distinction between substance and accident (jawhar–ʿaraḍ) and discussions on causality (ʿilla) not only offer a metaphysical explanation of nature, but also underscore the transient nature of the created order and its dependence on the God. Thereby providing an ethical framework for the human being’s relationship with nature. In contrast, Princess Mononoke presents nature through depictions of spirits, sacred forests, and vital forces. The film addresses the conflict between nature and humanity not only on a physical level but also on ontological and ethical planes. While its narrative is constructed within a symbolic framework, themes such as responsibility, balance, and destruction resonate with core theological reflections. This study aims to examine the meanings ascribed to nature within two distinct traditions-Miyazaki’s film as a product of Japanese culture and the classical discipline of Islamic theology-offering a comparative perspective on the theological framework of nature in Islamic thought. In doing so, it proposes a space for intellectual dialogue centered on nature, bridging classical Islamic theology with contemporary cultural representations.
Keywords : Kelam, Doğa, Sorumluluk, Kozmoloji, Hayao Miyazaki, Prenses Mononoke

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