Hijiri-e, dated 1299. This text also identifies Chūjō-hime as “an incarnation of a Buddhist deity.” Both of these texts depict Chūjō-hime’s legend in a more traditional form, focusing primarily on her days as a nun in Taima-dera and her deity status. Later depictions would elaborate on her life before she became a nun. The religious connotations of the Chujō-hime tale became increasingly prevalent in the 14th-15th centuries with the contributions of traveling pastors using her story to spread Buddhist teachings. Monk Yūjo Shōsō included details concerning Chujō-Hime’s tale in Commentary on the Taima Mandala (1436) in which she travels to Hibariyama after her step-mother orders her death. This tale came in conjunction with the proselytization of nuns traveling along the Kumano pilgrimage, who spread oral tales (etoki) of Chujō-hime that emphasized female salvation. Through these etoki Hibariyama came to be associated with Tokushō-ji temple in Arita city which was a stop along the Kumano pilgrimage. During the late fourteenth and early fifteenth centuries, new themes were added to Chūjō-hime’s story, particularly regarding her life before becoming a nun. This new retelling of the legend took the shape of Nō plays. One such play was Hibariyama (Skylark Mountain, writer unknown). The first act tells how Chūjō-hime’s father, Minister Toyonari, ordered one of his retainers to kill his daughter, after having believed a lie about her. The retainer then takes Chūjō-hime to Mount Hibari with the intention of killing her, but, unable to do so, he instead builds a shelter for her and her nurse. In the second act, some time has passed and Chūjō-hime’s father has realized that the rumors of his daughter were untrue and has come to regret his actions. He then encounters Chūjō-hime and, upon learning that she is alive and well, they reunite, and he takes Chūjō-hime back home. Hibariyama does not make any mention of Chūjō-hime’s time as a nun. Another Nō play that develops Chūjō-hime’s legend is Taema, attributed to the playwright Zeami. In this retelling, Chūjō-hime is abandoned in Mount Hibari by her wicked stepmother. Despite the harsh conditions of the mountains, she survives, and this is attributed to her being the reincarnation of a Buddha. She is later found by her father Lord Toyonari, who takes her back home. Chūjō-hime, however, uninterested in worldly affairs, leaves the capital and becomes a nun at Taima-dera. Although this play focuses on her time before entering