Holy Beasts and Mythical Creatures

Legendary creatures in the art of Japan

Legends of mythical creatures have been passed down and incorporated into the designs of Japan's art over generations. Representative examples of these include the dragon, the phoenix, the qilin, the Chinese lion, and the kalavinka. They have been the objects of reverence and have been depicted in paintings and crafts containing various purposes and dreams of people. This section introduces works of art and crafts featuring holy beasts and imaginary creatures, and looks at how each of these creatures has been imagined and formed in Japan.

Dragon (Ryū)

A mythical creature that is widespread in the East. It is said to have a body like a snake, antlers like a deer, fish-like scales on its back, a long mustache, and three to five claws on each of its four legs. The image of the Japanese dragon is thought to have been formed by merging foreign beliefs and legends, such as the dragon of the Way of Yin-Yang, which came from China, and the Indian snake deity Naga, in addition to the ancient Japanese snake deities, including the big snake Yamata-no-orochi. In Japan, the dragon god was believed to have power over water, and was the object of prayers for rain as the country was based on rice cultivation. Furthermore, people saw the shape of dragons in floods. Dragons were also deeply connected with thunder, and were said to summon rain, clouds, and lightning. Along with the phoenix, qilin, and tortoise, the dragon is one of the four holy beasts of China.

Pitcher with Dragon Head

The origins of this kind of pitcher, characterized by its long neck, round body, and handle, may be traced back to the ancient Sasanian Empire of Iran.Engraved onto the body are winged horses. These mythical creatures are known for pulling the chariot of the sun god Apollo, and also appear on the murals above the heads of the Buddhas of Bamiyan in central Afghanistan, a region that was once an important part of the Silk Road. Although the depiction of these creatures on the pitcher shows influence from Tang China and the Korean kingdom of Baekche, this pitcher was most likely created in Japan. This is the oldest object created in Japan that features images of these winged horses. Moreover, the mouth and handle imitate the form of a Chinese dragon, with the hinged lid serving as the head.This pitcher thus serves as a symbol of the spectacular international exchange of cultures that took place along the ancient Silk Road.

Mandala of the Great Cranial Protuberance

This mandala has been used as a principal object of the Dai-butchō-hō ritual to pray for love and respect, good health and divine favor. This is a so-called Chinese Tang type composition, and it is not based on any specific Buddhist text. The same composition can be found in the collections of iconographies titled Zuzō-shō and Besson Zakki. According to the old records, Daibutchō Mandala began to be used for the ritual during the late 11th century. In the center of the picture, King Ichiji Kinrin (Ekākṣara-uṣṇīṣacakra) is seated on Mt. Shumi-sen (Sumeru) in front of the large disk of the sun, and seven sacred treasures are surrounding the figure. Above the figure of King Ichiji-kinrin the figure of Shaka (Śākyamuni) -kinrin is depicted within the disk of the moon. He is making a finger sign and a kinrin wheel is on his hands. Bamboo stalks are arranged on the left side of Mt. Shumi-sen, and peonies are on its right side. Two great dragon-kings and two dragon-gods are appearing from the sea in the front. One of the characteristics of this painting is the adoption of some almost natural scenes to this mandala composition of esoteric Buddhism. The body of the principal Buddhist image is painted yellow and is outlined in red. The garment is decorated with fine patterns of Shippō-tsunagi, Tatewaku, and Ishidatami using the method of cut-gold foil. Metalic tools are represented by gold foils. For coloring, bright colors with white wash were used. This picture is one of the elegant Buddhist paintings made during the reign of the Fujiwara family.

Box for Buddhist Services (Sessōbako) with Dragons

鎌倉時代（13世紀）。説相箱は据箱ともいい、法会の際に僧侶が説法する時、脇机に置く箱で、中に三衣や法会の次第などを書き留めたものや、香炉や如意などの持物を納めた。下方に格狭間をつけた長方形の木箱で、本作は身の外側に龍文金具で装飾している。

Dragonhead Pole Finial

室町時代（15世紀）。龍頭は袋状になった頸に竿を差し込んで、幡を立てるための仏具。口の中に束をたて、そこに幡の紐を結び付けて垂らした。現存する龍頭としては最も大きく、しかも嘉吉3年の銘文があり、制作年代の知られる作として資料的価値が高い。　　　　　　　

妙見寺の鳴竜

秀山信尹（しゅうざんのぶただ）筆／室町時代（15世紀）。応仁年間の本堂大改修の際、狩野派の秀山信尹により上下竜2頭が描かれ本堂外陣の大天井に組み込まれたもので、畳10畳分の大きさがある。その竜頭の下で手を打つと、天井裏に共鳴してみごとな竜鳴（りゅうめい）を発する。

Dragon and Tiger

The powerful figures of a dragon and tiger dominate the large canvas of these folding screens. The theme of this painting can be summed up in a Japanese phrase that translates as 'standoff between dragon and tiger.' Though the dragon may be an imaginary beast while the tiger actually exists, they were both venerated as mighty creatures and were often painted together in a set.From olden times, dragons were said to cause clouds and tigers, wind, with clouds and wind associated with each beast. On the screen to your right, a sharp-clawed dragon glares down on us from the heavens. The swelling clouds seem to surge from right to left. On the left-hand screen a tiger crouches down and strikes an intimidating pose. The bamboo blades above are also depicted swaying from right to left. It seems the winds are blowing violently from the right-hand screen to the left. With its dynamic sense of movement and huge motifs that jut out of the screens, this pair of screen paintings aptly expresses the era's penchant for magnificence and grandeur.

Pair of Dragons

狩野山雪筆／江戸時代（17世紀）。昇龍と降龍が対峙。渦巻状に旋回する風、滞留する雲など大気の変化が絶妙な墨の濃淡によって表わされ、動と静の対比が劇的な効果をあげている。山雪は狩野山楽を継ぐ京狩野第二代。同時代の狩野探幽の優美さと対照的に、迫力あふれる個性的な画風を示した。

Mitate (Parody) of Panthaka, Ascending dragon and beautiful woman

鈴木春信筆／江戸時代（18世紀）。瓶から龍を出すという神通力をみせた半托迦（はんたか）という羅漢を美人に変えて描いたもの。江戸時代には、今の年賀状のように元旦に摺り物を交換する習慣があり、これもそうした歳旦摺物のひとつ。昇って行く龍の姿は縁起がいいと喜ばれたのだろう。

Articulated Dragon

Myochin was born into a family of armor makers, and used the techniques of his hereditary trade to create intricate metal figurines.This majestic dragon looks forward with neck raised and body winding gracefully. It radiates power with it sturdy legs and sharp claws. It is depicted in a realistic fashion, right down to the horns, scales, and whiskers. It seems poised on the brink of movement. It also has a body that can be moved freely and posed. It is made of several smaller parts that are carefully fitted together to ensure the joints are adjustable, thus enabling the overall structure to move smoothly. The parts were made by heating iron plates and beating them into shape. This process requires time, patience, and skill.From the inscription on the dragon's neck, we know the dragon was made in Kanda, Tokyo, in 1713. We also know it was made by Myochin Mune'akira when he was 31. The Myochin family were armor makers, with Mune'akira also inheriting this business. Iron was commonly used in Japanese armor. It was heated and beaten into shape, a technique also used to full effect in the production of this dragon.In the 17th century, the Tokugawa shogunate unified Japan under its control. This ushered in a peaceful age of social and economic stability in the 18th century. Armor makers continued to work for feudal lords across Japan, but the armor they produced was more for decorative purposes than for actual use. This probably explains why these armor makers also began to make realistic, articulated objects commissioned by feudal lords and other powerful figures. Other articulated objects include snakes, shrimp, crabs, carp, and praying mantises. Many of these featured the inscribed name of an armor maker from the Myochin family. Some were used as paperweights, but most were purely objects of appreciation with no practical use. Perhaps they were enjoyed in a similar manner to the way people play with figurines today.

Chrysanthemum-shaped Dish, Dragon and cloud design in underglaze blue

江戸時代（18～19世紀）。伊万里焼だが、裏に「太明成化年製」の銘がある。正面向きの龍は中国で明時代後期から清時代に流行したが、団子鼻でおどけた顔と軟体動物のような身体が面白い。「西如」「東海」「寿北」「南山」は長寿を祝福する吉祥句「福如東海、寿比南山」を間違えたもの。

Carved Cinnabar Lacquer Inro Medicine Case with Design of Dragon and Clouds

江戸時代（18～19世紀）。常形4段の印籠。素地の表面に漆を何層にも塗り重ねて適当な厚さにした後、刀で文様を浮彫状に表す「堆朱」と呼ばれる彫漆技法によって、雲龍を彫り表している。段内部は金梨子地。

Kabuki Costume (Jinbaori Jacket) with Winged Dragons in Waves

This sleeveless vest, called a jinbaori, was made to be worn over armor. This one was not worn in actual battle but used as a costume in kabuki, one of Japan’s traditional performing arts. Its vivid red cloth is embroidered with a striking design of a winged dragon with clouds and waves. It was made to stand out on stage and is brilliantly showy even at a distance. Its rousing mood is reminiscent of Chinese tastes. It is common for costumes for male roles to sport Chinese-style designs, while those for female roles, in contrast, tend to feature Japanese-style patterns. This is true not only in kabuki, but also in noh, another of Japan’s traditional performing arts.The texture of this fabric, which resembles felt, is called rasha. It is a type of wool cloth with a raised, coarse surface. Japan did not yet produce wool cloth at that time, so this would have been a luxury item imported from Europe.In contrast to noh costumes decorated with repetitive patterns, kabuki costumes often feature bold embroidered motifs in a more freely designed style.

Phoenix (Hō-ō)

An imaginary bird that came from China. In China, it is thought to be a bird of good omen that appears in the reigns of a virtuous emperor. In the Chinese dictionary of the Later Han "Setsumonkaiji", it is described as having a neck like a snake, a tail like a fish, a throat like a swallow, a beak like a rooster, a back like a tortoise, and feathers with five different color patterns. The phoenix was said to live in Chinese parasol trees, eat the seeds of bamboo trees, and drink sweet spring water. The male is called hō and the female is called ō. In Japan, the phoenix pattern has been used for decoration of textiles, lacquer works, mirrors, etc. since ancient times. In the Heian period (794-1185), the paulownia-bamboo-phoenix pattern was designated as the woven pattern for emperors' dresses, and was respected as a highly dignified pattern symbolizing the emperor. Since then, throughout the early modern and middle ages, the phoenix design has been favored as an auspicious motif, and incorporated into various paintings and crafts. Along with the dragon, qilin, and tortoise, it is one of the four holy beasts of China.

Japan (Ukiyoe woodblock prints)

Fragment of a Banner ("Ban") with Lion and Phoenixes

飛鳥時代（7世紀）。法隆寺裂を代表する経錦。連珠円文の中に向かいあった獅子や鳳凰をあらわし、外側には天馬や雄鹿が疾駆する。作品内側は全体にスレ跡が目立ち、これにそって周囲に針穴が巡っていることから、本来は幡(ばん―仏教儀式の場を飾り立てるのに用いられた昇り旗)に仕立てられていたと考えられる。

Water Dropper

Prince Shōtoku purportedly owned these writing implements and used them when he wrote the first explanations in Japan of the Lotus Sutra and other Buddhist texts.The flower-shaped stand was used to hold ink cakes. It originally had six petals, although one is now missing. The outlines and veins of the leaves that form the floral patterns on the stem and base were engraved in fine lines using a chisel.The pot on display, which held water that was used to make the ink, is in the shape of a persimmon engraved with floral patterns and phoenixes with wings spread. It has three legs, and while small, its shape makes it feel more substantial. The edge of the lid curves upwards into four petals with a knob in the form of a jewel.There are also three spoons on display, shaped like a lotus petal, gourd, and willow leaf, respectively, with the handles curving gently.There is no proof that these items were made as a set, or that they were meant for the purposes described above, but they do demonstrate the brilliant metalworking techniques of the Nara period.

Octofoil Mirror with Auspicious Flowers and Paired Phoenixes

This type of eight-pointed mirror, which first appeared in the latter half of the 7th century in Tang-dynasty China, was highly prized in Japan during the Heian period (794–1192).Glass mirrors only took off in Japan from the late 19th century onwards. Before then, mirrors were made exclusively of bronze. The bronze was heated into liquid form and poured into a mold, with one side then burnished until capable of reflection and the other side decorated with various motifs. Bronze mirrors were first brought to Japan from China around the 2nd century BC. Many mirrors from Tang-dynasty China then arrived on Japan's shores in the 8th century, with copies of these subsequently produced within Japan itself. From the 10th to the 12th century, mirror shapes and designs gradually changed. This led to the emergence of bronze mirrors with uniquely Japanese forms and motifs.The back of this bronze mirror features a floral arabesque pattern and a pair of phoenixes around the central nub where a cord was threaded. This type of eight-lobed mirror first emerged during the late 7th century in Tang dynasty China. They originally featured a contrasting design of two phoenixes and two flowering plants. When Japanese copies were made, the phoenixes came to resemble mandarin ducks, while the flowers spread to cover the entire backdrop. This mirror represents one of the finest examples of a Japanese eight-lobed mirror. A high level of craftsmanship is on display in the bold three-dimensionality of the design.

Box (Karabitsu) with Phoenix Roundels

Karabitsu is a term for storage boxes, especially ones with legs that raise the base above the floor. On top of the lid, and on the body and legs of this box, we can see Chinese phoenixes rendered with thick pieces of turban shell using a decorative technique called raden. For this technique, the inside layers of the shells were removed, cut into the desired shapes, and inlaid into lacquer.The wings of each phoenix are spread, with the tail feathers curving to form a circle. The empty, lacquered areas within the phoenix motifs are embellished with gold powder, creating the subtle effect of these mythical birds appearing to float above the surface. These bold phoenix motifs seem to emit an elegant glow that combines with the lustrous black lacquer to provide a glimpse of the sophisticated aesthetic tastes of the Heian period. As an aside, this phoenix motif is familiar to many Japanese today as it is used for the logo of the Kabuki theater in Tōkyō’s Ginza district.

Writing Box with Design of Paulownia and Phoenix in Maki-e Lacquer

桃山～江戸時代（17世紀）。内外共に総体金梨子地に平蒔絵と高蒔絵で表す硯箱。蓋甲には桐鳳凰、見返しは松瀧山水、見込みは竹としている。蓋甲は、水辺の桐に雌雄の鳳凰で、小笹や沢瀉（おもだか）も描かれる。桐花に金金貝、凰の尾羽と岩には銀金貝があしらわれ、桐の幹や凰の体、岩や雲に金・銀の切金が置かれる。

Saddle, Paulownia and phoenix design in maki-e lacquer

江戸時代（18世紀）。戦野を疾駆する武士達の必需品であった鞍も、泰平の世が続くとともに、次第に身辺を飾る道具としての性格が濃くなり、華美な装いが凝らされるようになった。これもその典型作の一つで、前輪と後輪の外側に高蒔絵に朱漆を交えて華やかに桐鳳凰を描いている。

Robe-Shaped Comforter with a Phoenix and Vines

江戸時代（18～19世紀）。夜着とは、江戸時代の布団のことである。友禅染による鳳凰模様の夜着は、小袖模様雛形『諸国御ひいなかた』　（貞享３(1686)年刊）、『源氏ひなかた』（貞享４(1687)年刊）に同様の構図が見られ、典型的な夜着の吉祥模様である。

Yūzen-Dyed Fabric with Paulownias and Phoenixes

This textile for hanging has a design in [yuzen] dyeing that resembles a painting. Chinese phoenixes were believed to perch on paulownia trees. （平企_特集_親と子_170425)

Katabira (Summer garment), Paulownia and phoenix design on white plain-weave ramie ground

江戸時代（19世紀）。若い武家女性の夏の衣料。上質の麻布に描絵（かきえ）と刺繍、摺匹田（すりびった）（鹿の子絞りの模様を型紙で簡易に摺る方法）で模様を表わす。鳳凰は中国の伝説上の瑞鳥で、桐の樹に住むとされる。吉祥模様として日本でも好まれた。　　　

Jingasa Helmet with Gold Lacquered Paulownia and Chinese Phoenix

江戸時代（19世紀）。厚い煉革の前方を反らせ黒漆塗りで、前方正面の中に鳳凰を、下方に梅鉢紋をほどこし、左右に桐の模様を金蒔絵にして、後方正面の中心に三ツ割の梅鉢紋を置く。作域は、漆及び蒔絵ともにすぐれている。

Robe with Peonies and Phoenixes

第二尚氏時代（19世紀）。「藍型」とは、藍と墨の濃淡のみで模様を染めた紅型の技法の一種である。鳳凰と百花の王とされる牡丹の模様との組み合わせは、中国の影響を思わせる。中手文様型を用いており、端袖には、日本の文様である松に枝垂桜文様をあらわした紅型を用いている。

Jar with a Pair of Phoenixes

明治時代（19世紀）。七代錦光山宗兵衛は、京都粟田焼に薩摩焼の彩画法を取り入れ輸出用の金襴手を創始した六代宗兵衛の子として生れ、美術陶磁の輸出等京焼の振興に尽力した。この飾壺は1893年にシカゴのコロンブス記念万国博覧会に出品されたものである。

Qilin (kirin)

An imaginary animal that came from China. There are various opinions about its form, but some say that it has a body like a deer, a single antler on its head, horse-like hooves, a tail like a cow, and its entire body covered with five different shades of light. In China, it was said that qilin was able to fly and appeared in the reigns of a holy emperor, and was regarded as an auspicious beast. According to some, the male is called ki and the female is called rin. Along with the dragon, phoenix, and tortoise, it is one of the four holy beasts of China.

Overseas

瑞花鳳凰麒麟猊紋鏡

奈良～平安時代。中国唐代の鏡を模して日本列島で製作された唐式鏡。2匹の鳳凰と2匹の麒麟、さらに1対の雲気文が描かれ、また鈕は花文によって装飾されている。この鏡は日本列島の奈良から平安時代の遺跡から出土しているが、完形品は貴重なものである。

Flying Birds and Running Beasts: Running Beasts Volume

狩野探幽筆／江戸時代（17世紀）。狩野探幽は、江戸時代前期の御用絵師。多くの寺社、大名屋敷の障壁画などを描き、武家に適合した画体を確立した一方、身近な草花や、各家から到来した珍しい鳥や獣などを写生することを好んだ。こちらは、鳥や動物、想像上の生き物を描いた『飛禽走獣図巻』から、麒麟の図。

絵本庭訓往来

葛飾北斎画／江戸時代（19世紀）。『絵本庭訓往来』は、室町時代から明治初期にかけて最も普及した往来物の一つ。年間の往復書簡を通して、年始の挨拶から、食べ物の名称や病気の治療法まで様々な事柄を学べるようになっている。本書は、葛飾北斎による挿絵がふんだんに使われており、絵だけでも楽しめる。

南畝莠言

大田南畝著／江戸時代（19世紀）。江戸時代後期の文人、大田南畝が世事・風俗・文学多方面にわたる故実をまとめたものの中から、門人文宝亭が抜粋編纂した書。掲図は、乾隆4年（1739）に清に現れた麒麟。

Toggle (Netsuke) Shaped Like a Qilin (Beast)

江戸時代（19世紀）。根付は小物入れを帯から下げる際の留め具。牙彫とは象牙を彫ったもの。麒麟は聖獣として中国から日本に伝わったが、その姿については様々な説がある。この麒麟は、頭が龍で足は鹿に似た蹄を持ち体には鱗があり角が一本あるという説を踏まえて作られている。

Large Flower Vases with Scenes of the Samurai Minamoto no Raikō at Mt. Ōe

Submitted to the Vienna World Exposition in 1873, this work demonstrated a high level of Japanese craftsmanship to the world. These huge vases stand over one meter high. The three layers of the plinths seem to be supported by demons and legendary beasts known as qilin, while the bodies of the vases are decorated in relief-like fashion with scenes from the tale of Shuten-doji. The inner sections of the wide mouths feature a design of fans floating in water, while the outer sections are decorated with dragon-and-cloud motifs. The ears attached to the sides of the bodies are in the shape of thistle branches and leaves. The vases were cast by pouring molten metal into several molds and then fitting the resultant parts together. Despite the huge size, the superlative skills of the craftsmen are apparent in each intricately-rendered detail.Yokoyama Takashige and his son Kojun were active from the end of the Edo period to the start of the Meiji era. They mainly worked in Takaoka in Toyama prefecture, a major site of metal casting since olden times. At the dawn of the Meiji era, when these vases were made, Japan had started to demonstrate its high level of technical prowess to the wider world with the aim of exporting its goods in large volumes. When these vases were submitted to the Vienna World Exposition in 1873, they demonstrated the advanced level of Japanese craftsmanship and surprized the world.

Chinese lion (Karajishi)

An imaginary animal that came from China. It is thought to have been based on the lion, and is depicted with a large spiral tail, and a mane, like flames, and sometimes with patterns scattered on its body and limbs. It is believed to have been introduced to Japan along with Buddhism, and became a sacred animal. It often appears in Buddhist paintings and statues as being ridden by Manjusri Bodhisattva. During the Heian period (794-1185), the lion was treated as a charm against evil, and a lion with an open mouth and a guardian dog with a closed mouth and a horn on its head, were placed in front of the micho (curtained sitting and sleeping platform) of the Seiryo-den (emperor's main residence). In the medieval period, the lion was favored as the decoration on weapons for its fierce appearance, especially the design of the lion and peonies which came into style as a lucky motif. In the Muromachi and Azuchi-Momoyama periods, it was used as the subject for fusuma-e (sliding door paintings) and byōbu-e (folding screen paintings) in castle buildings, and was also favored by samurai families in the Edo period.

Ritual Incense Burner with a Handle and Lion-Shaped Counterweight

In ancient India, the birthplace of Buddhism, it was customary to offer flowers, incense, and fire to venerated deities or people. This custom was incorporated into Buddhism, with flowers, incense, and fire regarded as the three fundamental offerings for Buddhist deities. People soon began to use incense burners, some of which were furnished with handles. Handled incense burners were considered an indispensable part of a Buddhist priest's accoutrements. These treasured items are among the earliest examples of Buddhist implements. Buddhism subsequently spread to China and the Korean peninsula before arriving on Japan's shores around the middle of the 6th century. It seems handled incense burners arrive in Japan soon after. The oldest extant example in Japan belongs to Tokyo National Museum's Horyuji Treasures and it dates back to the Asuka period in the 7th century.The handled incense burner on display here arrived a century later. Its parts were cast in bronze and then assembled. The section with the wide mouth is the brazier. It sits on a flower-shaped stand. A copper plate with two round adornments sits where the burner's long handle attaches to the rim of the brazier. The tip of the handle bends 90 degrees and it features a lion-shaped object at the base. This is a weight, though it also plays a decorative role. With its front legs braced and tail standing straight, the lion exudes a sense of power. Handled incense burners with lion-shaped weights were produced in Japan and China in the 8th century, with many still with us today. This example features an engraved pattern commonly used in China, so it may have been made there. It speaks volumes about the way Japan enthusiastically absorbed Buddhist culture from abroad during this era.

Pair of Lions

平安時代（12世紀）。ともに前肢を揃えて臥す姿で、形状や制作技法的にみて一対のものとして作られたものであろう。両方とも口を大きく開いていて、後世の狛犬のように阿吽に形式化していないところが注目される。毛筋を蹴彫りで表し、一方の獅子の胴には斑点が刻まれている。

Shishi (Lion)

The figure was originally employed as the animal pedestal for a statue of Monju Bosatsu (Skt. Mañjuśrī). The body was painted with blue and the hair was painted with green. The cut gold leaf was streaked on the hair. The figure was well expressed characteristics of the feline beast, such as finely balanced four legs and the accurate angle of the joints, as well as the delicately raised muscle.

The Bodhisattva Monju Riding His Lion, Accompanied by Followers

康円作／鎌倉時代（13世紀）。獅子に乗る文殊菩薩が、合掌する善財童子とインド人僧の仏陀波利三蔵、獅子の手綱を引く于闐王、頭巾をかぶる大聖老人という４人の従者をともなって海を渡る「渡海文殊」の群像をあらわす。銘文などから作者と制作年が判明し、興福寺勧学院の本尊だったことがわかる点は貴重。

Mirror Box with a Chinese Lion and Peonies

Designs of Chinese lions and peonies were popular in Japan's medieval period. The lion on this object is rendered in great detail with lacquer and gold.

Reliquary in the Shape of Flaming Jewel on a Lion

南北朝時代（14世紀）。獅子の背に火焔宝珠形舎利容器を載せた異色の作品。獅子は右前脚を踏み出すようにして立ち、前を見据えて咆吼している。小品ながら、獅子の体躯の肉付けは巧みで力強い。獅子は群青、緑青、朱、金泥などで彩色され、巻毛には金截金（きりかね）によって筋が引かれている。ひげには針金を用いている。

Saddle with a Lion and Peonies

室町時代（16世紀）。いわゆる戦国時代には、実戦用の鞍の形にも大きな変革がもたらされた。部材は分厚く、幅広になっており、いかにも頑丈で力強い姿である。また、この形式の鞍の装飾には、厚い金属板を鋲で留めるなど、豪放で斬新な傾向がみられる。獅子と牡丹の組み合わせは吉祥文様の一つで、室町時代に流行した。

Chinese Lions

The right screen is famous the confirmatory work of Kano Eitoku ( 1543-90 ), a master of the Momoyama art world, identified by its colophon by Kano Tan' yu. There's no doubt that this is by Eitoku because of the impressive and valiant depiction of imposing tigers striding among rocks with strong brushwork in spite of simple composition. The left screen was painted to match the right by Kano Tsunenobu ( 1636-1713 ) afterward, and the two were passed down to the present as a pair.（「New Edition　Grace, Beauty and Inqenuity-Masterpices of the Museum of Imperial Collections, Sannomaru Shozokan　Vol.1」2003）

Noh Costume (Atsuita) with Chinese Lions

The Chinese lion was considered an auspicious creature and the king of innumerable beasts. Noh costumes with Chinese lions were used for portraying ferocious warriors or turbulent gods.

Kalavinka (Karyōbinga)

A bird that lives in the Pure Land of Perfect Bliss of Buddhism. It is a transliteration of the Sanskrit word "Kalavinka". It is said to have a head like a beautiful woman and a lower body like a bird, and preach on Buddha's teaching with a beautiful voice. The figure can be seen in Buddhist art such as the Pure Land and Nirvana paintings, and there are many examples of it holding a flower vase with both hands on its chest or playing a musical instrument. It gains recognition as an entity that praises the teachings of Buddha and holds memorial services for him, and is often depicted on sutra boxes or in the decoration of Buddhist architecture in Japan.

Japan (Other paintings)

Mirror Box of Silver-and-Gold Mud-Decorated Lacquered Leather

Lacquered leather, known as shippi, was produced by first wrapping softened cow or deer skin around a mold and then painting the resulting vessel with lacquer. This technique was popular during the Nara Period, but rarely used after the mid-Heian Period. The extant mirror box depicts Karyou-Binga (Sk: Kalavinka), originally a mythical bird of the Buddhist Paradise with a beautiful woman-like face and a melodious voice. Along with the bird motif are pictorial representations of Buddha and imaginary Buddhist flowers.

Booklet Box with Hōsōge Flowers and Kalavinka (Copy)

明治34年(1901)、原品：平安時代（10世紀）。原品は、空海らが唐で書写して持ち帰った経典を納めるために、醍醐天皇が作らせた冊子箱（国宝）。麻布を漆で固めて整形する乾漆製で、表面には金銀の蒔絵で、宝相華と迦陵頻伽が描かれている。28人の迦陵頻伽の姿はすべて異なる。本資料は、明治時代の模造。

Keman (Pendant ornament in Buddhist sanctuary)

Keman is an interior ornament to be hung in temples. It symbolizes a garland of flowers, which used to be given to noble people in India. Many of the keman have garland designs for this reason. The thirteen k0eman-ornaments introduced in this article had been kept in Tō-ji temple in Kyoto. each of them is made of cow-hide onto which images were painted. The design of one of the keman consists of a pair of sacred birds, Karyōbinga (Kalavinka), and its background is decorated with hōsōge flowers. Another keman is decorated only with hōsōge flowers. In both of the designs lines flow pleasantly. The coloring method shows the same characteristics as the method used for Buddhist painting in the late Heian period. The keman with the design of Karyōbinga is decorated not only with colors but also with gold, which makes it even more gorgeous. According to the record of Buddhist services held in the pagoda of Tō-ji temple, a keman-dai was used during the Buddhist services held for celebrating the foundation of the five-storied pagoda in 1086. The Documents on Newly-made Buddhist Implements of Tō-ji temple contains a record which says that eleven keman were made in 1101. The extant keman-ornaments can be classified into several groups with respect to the composition of designs and manufacturing techniques. Some of them may be the very items recorded in the above-mentioned documents.

Related People, Things and Events

Dragons
The dragon is a legendary creature that is well-known throughout Asia. In Japan, images of dragons were created as a combination of ancient Japanese snake gods, such as Yamata no Orochi and the snake gods of India and China.
Maki-e
A lacquering technique, representative of Japan, that uses fine particles of gold and silver to decorate lacquerware
Nishiki-e
Nishiki-e is the generic term for the Ukiyo-e multi-colored woodblock prints which were developed and popularized during the Edo era.
Kinkaku Temple
Common name of Rokuon Temple, built in Kitayama, Kyoto, by Shogun Yoshimitsu Ashikaga; includes the glittering-gold Shari reliquary hall
Buddhist Statues in Japan (Asuka 〜 Kamakura periods)
Transition of Buddhist statues in Japan

References

『改訂新版　世界大百科事典』（コトバンク）「鳳凰」「麒麟」「獅子」「迦陵頻伽」の項目
『日本大百科全書(ニッポニカ)』（コトバンク）「龍」「麒麟」の項目
『マイペディアマルチメディア百科事典』「鳳凰」の項目日立デジタル平凡社,平凡社
『日本の図像 : 神獣霊獣』狩野博幸, 湯本豪一執筆,ピエ・ブックス
コトバンク所収コンテンツの最終アクセス日は、いずれも2024/2/16。