{"@context":"http://iiif.io/api/presentation/2/context.json","@id":"https://emuseum.nich.go.jp/iiifapi/100536000/manifest.json","@type":"sc:Manifest","label":[{"@value":"e国宝 - 獅子螺鈿鞍","@language":"ja"},{"@value":"e-Museum - Saddle with lion motif in mother-of-pearl inlay","@language":"en"},{"@value":"e国宝 - 狮子螺钿鞍","@language":"zh"},{"@value":"e국보 - 사자나전 안장","@language":"ko"}],"metadata":[{"label":[{"@value":"指定区分","@language":"ja"},{"@value":"Designation","@language":"en"},{"@value":"指定等级","@language":"zh"},{"@value":"문화재 지정 구분","@language":"ko"}],"value":[{"@value":"重要文化財","@language":"ja"},{"@value":"Important Cultural Property","@language":"en"},{"@value":"重要文化财","@language":"zh"},{"@value":"중요문화재","@language":"ko"}]},{"label":[{"@value":"分野","@language":"ja"},{"@value":"Category","@language":"en"},{"@value":"类别","@language":"zh"},{"@value":"분야","@language":"ko"}],"value":[{"@value":"漆工","@language":"ja"},{"@value":"Lacquerware","@language":"en"},{"@value":"漆器工艺","@language":"zh"},{"@value":"칠공예","@language":"ko"}]},{"label":[{"@value":"名称よみ","@language":"ja"}],"value":[{"@value":"ししらでんくら","@language":"ja"}]},{"label":[{"@value":"員数","@language":"ja"},{"@value":"Quantity","@language":"en"},{"@value":"数量","@language":"zh"},{"@value":"수량","@language":"ko"}],"value":[{"@value":"1背","@language":"ja"},{"@value":"1 piece","@language":"en"},{"@value":"1付","@language":"zh"},{"@value":"1점","@language":"ko"}]},{"label":[{"@value":"品質形状","@language":"ja"},{"@value":"Media","@language":"en"},{"@value":"材质形状","@language":"zh"},{"@value":"재질/형태","@language":"ko"}],"value":[{"@value":"木製漆塗","@language":"ja"},{"@value":"Lacquered wood","@language":"en"},{"@value":"木制涂漆","@language":"zh"},{"@value":"목제옻칠","@language":"ko"}]},{"label":[{"@value":"法量","@language":"ja"},{"@value":"Dimensions","@language":"en"},{"@value":"尺寸","@language":"zh"},{"@value":"크기","@language":"ko"}],"value":[{"@value":"前輪高26.0　後輪高30.3　居木長41.5","@language":"ja"},{"@value":"Front arch H26.0 rear arch H30.3 bars L41.5","@language":"en"},{"@value":"前轮高26.0　后轮高30.3　居木长41.5","@language":"zh"},{"@value":"전륜높이26.0 후륜높이30.3 거목길이41.5 1배","@language":"ko"}]},{"label":[{"@value":"時代・世紀","@language":"ja"},{"@value":"Period,Century","@language":"en"},{"@value":"年代・世纪","@language":"zh"},{"@value":"시대・세기","@language":"ko"}],"value":[{"@value":"平安～鎌倉時代・12～13世紀","@language":"ja"},{"@value":"Heian-Kamakura period/12-13th century","@language":"en"},{"@value":"平安～镰仓时代 12～13世纪","@language":"zh"},{"@value":"헤이안∼가마쿠라시대·12∼13세기","@language":"ko"}]},{"label":[{"@value":"所蔵者","@language":"ja"},{"@value":"Owner","@language":"en"},{"@value":"收藏家","@language":"zh"},{"@value":"소장자","@language":"ko"}],"value":[{"@value":"東京国立博物館","@language":"ja"},{"@value":"Tokyo National Museum","@language":"en"},{"@value":"东京国立博物馆","@language":"zh"},{"@value":"도쿄국립박물관","@language":"ko"}]},{"label":[{"@value":"各館作品番号","@language":"ja"},{"@value":"Collection reference no.","@language":"en"},{"@value":"机构管理序号","@language":"zh"},{"@value":"기관관리번호","@language":"ko"}],"value":[{"@value":"H-3753","@language":"ja"},{"@value":"H-3753","@language":"en"},{"@value":"H-3753","@language":"zh"},{"@value":"H-3753","@language":"ko"}]},{"label":[{"@value":"その他テキスト","@language":"ja"},{"@value":"Other","@language":"en"},{"@value":"其他","@language":"zh"},{"@value":"그 외 텍스트","@language":"ko"}],"value":[{"@value":"嘉納治五郎氏寄贈","@language":"ja"},{"@value":"Donated by Kanō Jigorō","@language":"en"},{"@value":"嘉纳治五郎氏捐赠","@language":"zh"},{"@value":"가노지고로 기증","@language":"ko"}]}],"description":[{"@value":"中世以降の鞍橋（くらぼね）（鞍の本体）は、通常、前輪（まえわ）・後輪（しずわ）の外側に起伏（海・磯）をつけ、前輪の肩に乗馬の際の手掛かりにする手形を刳（く）った海有鞍の形をとるが、この鞍の両輪外側は平滑に仕上げられ、手形もみられない。金銅の覆輪（ふくりん）をめぐらした両輪の周縁にはわずかな造り出しがあり、古代鞍の様式に沿った外観をみせる。ただ、立体感のある後輪などは、明らかに中世鞍の特色を備えており、全体として古代から中世への過渡期の形態を示したものとみることができよう。\n鞍の外側は金粉を密に蒔き詰めた沃懸地（いかけじ）で飾られ、頭をもたげ、後ろを振り返るなど、さまざまな姿態をみせる獅子が螺鈿で表されている。厚い夜光貝の表面に毛彫りで描き込まれた獅子の表情はそれぞれに個性的で、後世の獅子文様にはみられない自然で素朴な雰囲気を醸し出している。\n沃懸地に螺鈿をとり合わせた装飾は、平安後期から鎌倉時代にかけて大いに流行したもので、他に籬菊（まがききく）蒔絵螺鈿硯箱（鶴岡八幡宮、国宝）、浮線綾螺鈿蒔絵手箱（国宝）などの例がよく知られている。藤原時代の繊細で優美をきわめた漆芸意匠から面目を一新した、きらびやかで重厚な表現である。\n","@language":"ja"},{"@value":"The saddle tree (kurabone, the body of the saddle) since medieval times usually takes the umiarigura form (saddle with `sea' parts): there is a raised part (iso, shore) on the outer sides of the front and hind arches (pommel and cantle), while the flat part is called umi (sea); serrated dents are carved out on the shoulder of the front arch, for the rider to hold. However, the outer sides of the arches of this saddle are flat and there are no dents on the front. The edges of both arches are covered with gilt bronze and along them there are small bumps. These are the characteristics of the ancient style of saddles. On the other hand, it also has the traits of the medieval style, such as the three-dimensional shape of the hind arch. Overall, this saddle appears to show the transitional style between the ancient and the medieval ones.\n   The outer sides of the saddle are decorated using the ikakeji technique, sprinkling gold powder thickly all over. On them there are mother-of-pearl lion motifs in a variety of postures, such as raising its head and looking back. The expressions of the lions are drawn with kebori (lit. hairline engraving) technique on the thick turban shell plates. Each of them shows its own distinct character with a simple and natural touch that is not seen in the lion patterns in later times.\nThe combination of ikakeji and mother-of-pearl inlay was a very popular style of decoration from the late Heian period to the Kamakura period. Adding to this piece, Magakikiku Raden Makie Suzuri Bako (lacquered writing box decorated with laminae of mother of pearl depicting chrysanthemum flowers, flying birds and a bamboo hedge, owned by Tsurugaoka Hachimangū Shrine, National Treasure) and Fusenryō Raden Makie Tebako (toiletry case with floating thread twill motif in mother-of-pearl inlay and makie, National Treasure) are also well-known examples of this style. The dazzling and imposing taste of the style is quite different from the lacquerware designs in the preceding Fujiwara period, which display the utmost elegance and subtlety. \n","@language":"en"},{"@value":"中世纪以后的鞍桥（kurabone）（马鞍的实体），一般为海有鞍的形态，即前轮（maewa）、后轮（sizuwa）的外侧为起伏状（海、矶），前轮肩上挖有供骑马时抓握的抓手，此件马鞍两轮外侧却做的较为平滑，且未见抓手。两轮周边稍微镶有金铜的镶边（fukurin），外观看上去延续了古代马鞍的样式。但是，具有立体感的后轮等却明显的具备了中世纪马鞍的特色，可以认为这件马鞍整体反映出从古代向中世纪过渡时期的形态。\n马鞍的外侧采用密撒金粉的方式装饰出沃悬地（ikakeji，莳绘的一种），有的狮头抬起，有的狮头回顾等，马鞍上用螺钿绘出了各种形态的狮子。厚厚的夜光贝表面采用细雕表现的狮子表情极富个性，渲染出一种后代狮子图案所不具备的自然而淳朴的气氛。\n沃悬地配合螺钿的装饰，流行于平安后期至镰仓时代，除这件马鞍外，还有篱菊（magakikiku）莳绘螺钿砚箱（鹤岗八幡宫、国宝）、浮线绫螺钿莳绘手箱（国宝）等作品广为人知。此件作品一改藤原时代极其纤细优美的漆艺创意，采用了灿烂夺目的厚重表现手法。\n","@language":"zh"},{"@value":"중세 이후의 안장틀(안장의 본체)은 보통 마에와(前輪)•시즈와(後輪)의 바깥쪽에 기복(우미(海)•이소(磯))을 넣고, 마에와의 어깨에 승마 시 잡도록 손자국을 판 우미아리 안장 형태를 따르는데, 본 안장의 마에와와 시즈와 바깥쪽은 평활하게 만들었으며 손자국도 없다. 금동 복륜을 두른 마에와•시즈와의 가장자리는 약간 튀어나와, 고대 안장의 양식을 따르는 외관을 구성한다. 단, 입체감 있는 시즈와 등은 중세 안장 고유의 특징을 갖추고 있어, 전체적으로 고대에서 중세로 넘어가는 과도기 형태를 띠는 작품으로 볼 수 있다.\n  안장의 바깥쪽은 금분을 세밀하게 뿌려 채운 이카케지(沃懸地)로 장식되었으며, 머리를 들고 뒤돌아보는 등 다양한 자세의 사자가 자개로 표현되어 있다. 두꺼운 야광패의 표면에 모조로 묘사한 사자 각각의 표정은 개성적이며 후세의 사자 문양에서는 볼 수 없는 자연스럽고 소박한 분위기를 자아내고 있다.\n  이카케지에 자개를 배합한 장식은 헤이안 시대 후기부터 가마쿠라 시대에 걸쳐 크게 유행한 것인데, 이 밖에도 이국(籬菊)마키에 자개벼룻집(쓰루가오카하치만구, 국보), 후센료 자개 마키에 손궤(국보) 등의 작품 예로 유명하다. 후지와라 시대의 정밀하고 우아한 칠공예에서 신면목을 나타낸 현란하고 중후한 표현의 작품이다.\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100536001002/2/thumbnail.jpeg","@type":"dctypes:Image","height":150,"width":200},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100536&content_part_id=0&content_pict_id=0","label":[{"@value":"e国宝 - 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