蒔絵桐木盒，配有舞乐 Ranryōō 面具及 龙笛设计 - 漆 - 日本 - Edo Period (1600-1868)

蘭陵王蒔絵桐箱
「舞乐蒔绘面箱」
江户时代
A RARE MAKI-E PAULOWNIA WOOD BOX
WITH BUGAKU RANRYŌŌ MASK AND RYŪTEKI DESIGN
Edo Period
作品解说
本作是，表盖以舞乐「兰陵王」的面具和龙笛以高蒔绘庄重地表达于桐木箱中的作品。兰陵王的面具以金地黑漆精细描绘，愤怒的表情、卷曲的龙须、锋利的獠牙立体地造型。螺旋纹样的眼、波状鬣、细密的鱼鳞表现等，忠实再现了室町时期舞乐面具的样式。
龙笛以细线表现竹节，配有金银房饰。盖背面以面具收藏箱与唐草文样的裂地蒔绘所绘，这是舞乐装束箱所见的意匠。尤其是盖背的装束箱蒔绘，以精密再现织物质感的高蒔绘技法出色，唐花七宝绳系文样与波状的金蒔绘在细节处皆有施绘。
盖缘饰以唐草蒔绘，赋予箱体统一的意匠感。桐材特有的轻量性与五百年来漆的自然风化，讲述着时代的故事。经年累月的劣化虽有痕迹，但整体结构未受损，时代保存状态良好。盖背的装束箱蒔绘部分有修补漆迹。
Description
A paulownia wood box of exceptional quality, the lid decorated in high-relief takamaki-e depicting the mask of Ranryōō (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 Ranryōō 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 Ranryōō mask tradition, symbolizing the legendary warrior prince who wore a dragon mask into battle. Beside the mask, a ryūteki (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 (shōzoku-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.
历史背景 / Historical Context
舞乐自平安时代以来，作为宫中及大社寺的重要仪礼被传承，兰陵王是其中的代表性剧目。兰陵王的故事源自中国北齐的王子高长恭，据传他为了让敌人不被容貌所惑，在战场上戴上可怕的龙脸具做战士。特别是嚴岛神社被称为舞乐重要传承地，平清盛修葺的社殿至今仍供奉舞乐。
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. Ranryōō 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 (chōdo-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、金蒔绘、银 / Paulownia wood, lacquer, gold maki-e, silver
時代 / Period 室町时期中期 / Muromachi Period, c. late 15th–early 16th century

状態 / Condition
全体 / Overall 经年之中的漆细龟裂、金的自然磨损。无结构性损伤。
Fine age-related crazing to the lacquer surface; natural wear to gold elements consistent with age. No structural damage.
蓋裏 / Lid Interior 装束箱蒔绘部分有修补漆迹。
Traces of lacquer restoration visible on the costume box maki-e area.
表蓋 / Lid Exterior 高蒔绘的立体感良好。眼部金轮有微细擦痕。
Takamaki-e relief well-preserved. Minor surface abrasion to the gold rims around the eyes.

技法分析 / Technical Analysis
表盖的蒔绘技法 / Lid Maki-e Techniques
兰陵王的面具为高蒔绘（たかまきえ）技法制作，通过多次叠层的漆与炭粉，形成显著的浮雕效果。面具表面撒金粉，结合研出し（抛光去漆）与粉蒔绘的混用，创造出质感的变化。牙齿和舌头使用银合金与朱漆，呈现多色表达，这是室町漆艺的典型特征。
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.
蓋裏的意匠 / Interior Lid Design
蓋裏描绘的舞乐装束箱的蒔绘，是六角形竹网代箱被风吕敷包裹的意匠。系绳的端部附有珊瑚色瓢箪形饰品，裂地的唐花七宝连锁纹样以金银蒔绘表现。底地以银地为底，覆盖金色七宝连饰纹，金波纹蒔绘沿布料的折痕分布。这种将织物质感以漆艺再现的技法，是室町时代最高级的漆工艺之表现。
The interior lid design depicts a hexagonal woven bamboo costume box (shōzoku-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'œil textile effect—a hallmark of the finest Muromachi lacquer production.
作品の意義 / Significance
本作は、舞乐と蒔绘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。兰陵王的面具作为蒔绘箱的主題，现存例极为罕见，既展示了室町时代舞乐文化的巅峰，也呈现了当时漆艺的技艺顶峰。特别是与嚴岛神社舞乐传统的关联性，表明本作位于宫廷文化与武家文化交汇的重要工艺品。
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 Ranryōō 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