背面に描かれるのは百獣の王たる瑞獣の一角、唐獅子。日本においては文殊菩薩が騎乗する神獣である。現実のライオンとは様相を異にし、全身を火焔状に渦巻く多量の毛によって覆われている。元来、聖域守護を担う神性であり、その意味合いから武家にも好まれ、桃山時代を中心に絵画や彫刻にも多く取り入れられた。
This back piece depicts a Chinese lion, one of the auspicious beasts that is considered the king of the hundred animals. In Japan, this divine beast is associated with Monju Bodhisattva. It differs from a real lion in that its entire body is covered with hair that spirals in a flame-like pattern. Originally, it was a divine being responsible for the protection of sanctuaries, and because of its significance, it was favored by the samurai class. It was most popularly depicted in paintings and sculptures, during the Momoyama period.
勇猛な唐獅子であるが、その身に生じる虫には命を脅かされるため、その虫を殺す効力のある牡丹の花から滴る朝露を受けるべく、夜には牡丹の下で眠りに就く。その伝承から、意匠としては牡丹との組み合わせで描かれることが定石となっている。合わせて描かれた能面は“獅子口”で、これは能楽において唐獅子を演じるときに用いられる。
It is said that although the Chinese lion is brave, its weakness comes from the insects that grow in its fur. Mythology suggests that these insects are life threatening and only the morning dew that drips from the peony flower is effective in killing them. As a result, the Chinese lion always sleeps under the peony at night. It is standard practice to depict Chinese lions in combination with peonies as a design to represent this myth. The masks seen beside the lions are called “Shishiguchi” mask, and are used in Noh dramas when the performance calls for a lion to appear.
一方、前面では般若面と大蛇が大胆な構図で睨みを利かせ、様々な能面が手足に散らされている。これは嫉妬と恨みに狂った女が“生成”から“般若”となり、最も業深い“真蛇”へと成り変わっていく様をなぞらえた構成だと思われる。
The large mask seen on the front panel is called a “Hannya” mask. All the masks in this full body composition are strategically placed and represent the idea that a women enraged with anger, jealousy, and resentment, is transformed from “Namanari” to “Hannya” and then to the most sinister “Shinja” meaning a serpent.
