蘭陵王蒔絵桐箱
「舞楽蒔絵面箱」
室町時代中期 推定15世紀後半～16世紀初頭
A RARE MAKI-E PAULOWNIA WOOD BOX
WITH BUGAKU RANR故障品(垃圾品)、問題商品、可能無法修理,請注意Y MASK AND RYTEKI DESIGN
Muromachi Period, Mid-15th to Early 16th Century
作品解説
本作は、表蓋に舞楽「蘭陵王」の仮面と龍笛を高蒔絵で荘重に表現した桐製の箱である。蘭陵王の面は金地に黒漆で精緻に描かれ、憤怒の表情、巻き込む龍髭、鋭い牙が立体的に造形されている。螺旋文様の目、波状の鬣、細密な鱗表現など、室町期の舞楽面の様式を忠実に写している。
龍笛は竹節を細線で表現し、金銀の房飾りが添えられている。蓋裏にはお面収納箱と唐草文様の裂地の蒔絵が描かれており、これは舞楽装束箱に見られる意匠である。特に蓋裏の装束箱の蒔絵は、織物の質感を精密に再現した高蒔絵の技法が優れており、唐花七宝繋ぎ文様や波状の金蒔きが細部にわたり施されている。
蓋縁には唐草蒔絵が施され、箱全体の意匠に統一感を与えている。桐材特有の軽量性と、500年を経た漆の自然な風合いが時代を物語る。経年劣化による傷みが見られるが、構造的な損傷はなく、時代的に保存状態は良好である。蓋裏の装束箱蒔絵部分に補修の漆跡が見られる。
Description
A paulownia wood box of exceptional quality, the lid decorated in high-relief takamaki-e depicting the mask of Ranry (the Prince of Lanling), one of the most celebrated characters from the ancient bugaku court dance repertoire closely associated with Itsukushima Shrine. The mask is masterfully rendered in gold and black lacquer, with a fierce, wrathful expression characteristic of the Ranry figure. The spiraling dragon beard, bared fangs with silver inlay, piercing concentric eyes with gold-rimmed pupils, and undulating mane demonstrate the sophisticated artistry of Muromachi-period lacquer craftsmanship.
A small dragon figure, rendered in fine gold takamaki-e, perches atop the mask's crown—a hallmark element of the Ranry mask tradition, symbolizing the legendary warrior prince who wore a dragon mask into battle. Beside the mask, a ryteki (dragon flute) is depicted in meticulous detail, its bamboo joints articulated with fine silver wire work, accompanied by gold-thread tassels. A circular metal fitting, perhaps representing a kagamibuta or tsuba element, completes the composition.
The interior of the lid features an equally remarkable takamaki-e design depicting a bugaku costume storage box (shzoku-bako) wrapped in a furoshiki cloth rendered with extraordinary textile-like precision. The fabric is decorated with karahana shippo-tsunagi (linked seven-jewel floral medallion) patterns in gold and silver on a dark ground, with areas of rich gold wave-patterned maki-e along the cloth's folds. A delicate coral-red gourd-form tassel adorns the wrapping cord, adding a note of refined color. The detailed basket-weave texture of the hexagonal box and the overlapping patterns of the draped cloth exemplify the highest standards of Muromachi lacquer technique.
The lid edges feature continuous karakusa (arabesque scroll) maki-e, lending formal unity to the composition. The paulownia wood body retains its characteristic light weight, and the natural aging of the lacquer over approximately five centuries imparts a warm, distinguished patina that attests to the box's considerable age.
歴史的背景 / Historical Context
舞楽は平安時代以降、宮中や大社寺の重要な儀礼として継承され、蘭陵王はその代表的演目である。蘭陵王は中国北斉の王子・高長恭の物語に基づく舞楽で、その美しい容貌が敵に侍られぬよう恐ろしい龍の仮面をつけて戦いに臨んだという伝説に由来する。特に厳島神社は舞楽の重要な伝承地として知られ、平清盛が修造した社殿において現在も舞楽が奉納されている。
Bugaku, the ancient court dance tradition inherited from continental Asia, has been performed at imperial ceremonies and major shrine-temple rituals since the Heian period. Ranry is one of its most iconic repertoire pieces, based on the legend of Gao Changgong, Prince of Lanling of the Northern Qi dynasty, who was said to be so handsome that he wore a fearsome dragon mask into battle to inspire his soldiers. Itsukushima Shrine, famously renovated by Taira no Kiyomori, remains one of the most important venues for the continued performance of bugaku, making the iconography of this box deeply resonant with centuries of sacred performing arts tradition.
This box was likely created for the storage of bugaku masks, accessories, or as an elite furnishing (chdo-hin) for aristocratic or warrior-class households with connections to shrine music and dance traditions.
寸法・状態 / Dimensions & Condition
| 寸法 / Dimensions |
| 外寸 / Exterior | 29.0 cm (H) × 21.5 cm (W) × 15.0 cm (D) |
| 内寸 / Interior | 26.5 cm (H) × 19.5 cm (W) × 12.0 cm (D) |
| 重量 / Weight | 888 g |
| 素材 / Material | 桐材、漆、金蒔絵、銀 / Paulownia wood, lacquer, gold maki-e, silver |
| 時代 / Period | 室町時代中期 / Muromachi Period, c. late 15thearly 16th century |
| 状態 / Condition |
| 全体 / Overall | 経年による漆の細かな皹、金の自然な摩耗あり。構造的な損傷なし。 Fine age-related crazing to the lacquer surface; natural wear to gold elements consistent with age. No structural damage. |
| 蓋裏 / Lid Interior | 装束箱蒔絵部分に補修の漆跡あり。 Traces of lacquer restoration visible on the costume box maki-e area. |
| 表蓋 / Lid Exterior | 高蒔絵の立体感良好。目の金輪に微細な擦れあり。 Takamaki-e relief well-preserved. Minor surface abrasion to the gold rims around the eyes. |
技法分析 / Technical Analysis
表蓋の蒔絵技法 / Lid Maki-e Techniques
蘭陵王の面は高蒔絵（たかまきえ）の技法で制作されており、漆と炭粉による下地を繰り返し盛り上げて立体的な浮き彫り効果を実現している。面の表面には金粉を蓮き、研ぎ出しと粉蒔絵の併用により質感の変化をつけている。歯や舌には銀や朱漆が使用され、多色表現が特徴的である。
The mask is executed in takamaki-e (high-relief sprinkled design), built up through repeated layering of lacquer mixed with charcoal powder to achieve a pronounced sculptural effect. Gold powder is sprinkled over the surface, with a combination of togidashi (polished-out) and fundame (matt gold) techniques creating tonal variation across the face. Silver alloy and vermilion lacquer are employed for the teeth and tongue respectively, achieving a vivid polychromatic effect that is characteristic of the finest Muromachi lacquerwork.
蓋裏の意匠 / Interior Lid Design
蓋裏に描かれた舞楽装束箱の蒔絵は、六角形の竹網代箱を風呂敷で包んだ意匠である。組紐の先には珊瑚色の瓢箪型の飾りが付され、裂地の唐花七宝繋ぎ文様は金銀蒔絵で表現されている。地の部分には銀地に金の七宝繋ぎ文が施され、金波文蒔絵が布の折り目に沿って配されている。この織物の質感を漆芸で再現する技法は、室町時代の最高級の漆工芸に見られるものである。
The interior lid design depicts a hexagonal woven bamboo costume box (shzoku-bako) wrapped in a furoshiki cloth. A coral-colored gourd-form tassel adorns the binding cord. The cloth is decorated with karahana shippo-tsunagi (linked seven-jewel arabesque) patterns executed in gold and silver maki-e of remarkable precision. Silver ground areas display gold shippo-tsunagi motifs, while gold wave-patterned maki-e follows the cloth's folds, creating an extraordinarily convincing trompe-l'il textile effect—a hallmark of the finest Muromachi lacquer production.
作品の意義 / Significance
本作は、舞楽と蒔絵という日本の二つの最高芸術が一体となった稀有な作品である。蘭陵王の仮面を主題とした蒔絵箱は現存例が極めて少なく、室町時代の舞楽文化と漆芸の技術的頂点を同時に示す貴重な資料である。特に厳島神社の舞楽伝統との関連を示唆する後述の特徴から、本作は宮廷文化と武家文化の接点に位置する重要な工芸品と言える。
This work represents an exceptionally rare confluence of two of Japan's highest artistic traditions: bugaku court dance and maki-e lacquerwork. Surviving examples of maki-e boxes featuring the Ranry mask as their primary motif are extremely scarce. The box simultaneously documents the zenith of Muromachi bugaku culture and the technical pinnacle of lacquer artistry of the period. Its probable association with the bugaku traditions of Itsukushima Shrine positions it at the significant intersection of court and warrior-class cultural patronage, making it an important document of medieval Japanese performing arts and material culture.
Private Collection, Japan
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