Snakes are familiar to many people around the world, yet their wide mouths and slithering movements can still surprise us. This temporary exhibition at the Tokyo National Museum showcases depictions of snakes from various times and places, revealing the diverse qualities people have found in them – beauty, power, fascination, and even cuteness.
Table of Contents
Introduction: Year of the Snake
Wood | Edo period, 19th century. 線刻銘「定一」｜江戸時代・19世
29 Feb 2025 heralds the start of the Year of the Wood Snake (乙巳)2. Since ancient times, these creatures have been associated with mysterious powers due to their ability to shed their skin and, in some cases, their venomous bite.
The Chinese Zodiac
Pottery | Tang dynasty (618-907) | Shaanxi History Museum Collection
The Chinese zodiac is a 12-year cycle that links each year to an animal sign.3 The snake (蛇) is the sixth of the cycle of animals and is associated with the Earthly Branch symbol 巳. Each year also corresponds to one of the five basic elements (wuxing 五行) in Chinese cosmology, namely Metal (jin 金), Wood (mu 木), Water (shui 水), Fire (huo 火) or Earth (tu 土), creating a 60-year cycle.
The Snake General, One of the Twelve Divine Generals 十二神将立像（已神）
Wood with pigment, cut gold leaf, and inlaid crystal eyes | Kamakura period, 13th century | Passed down at Jöruriji Temple, Kyoto. 木造、彩色・截金、玉眼｜鎌倉時代・13世紀｜京都・浄瑠璃寺伝来
Important Cultural Property 重要文化財
In 2025, the Heavenly Stem is Yi 乙, representing Wood, while the Earthly Branch is Si 巳, representing Fire, thus establishing the year of Yisi 乙巳. 4 Therefore, individuals born in 2025 may be called ‘Wood Snake’ or ‘Fire Snake’ or ‘Wood Fire Snake’.
Wearing Red
In Chinese culture, red is universally known as a harbinger of good luck. It is thought to repel evil spirits and misfortune. In 2025, this symbolism is particularly potent, as red is associated with Fire. It is believed that wearing red can help mitigate excessive Wood energy, thus maintaining balance and harmony between the elements.
The Genjoraku Dance 還城楽図
Woodblock print (nishiki-e) By Sengai | Edo period, 1854. 千崖筆｜江戸時代・安政元年（1854） ｜ 団扇絵判 錦絵
It clearly shows the characteristics of a Kanjoraku mask, such as a head with visible veins, deep wrinkles on the cheeks, and a chin made from a separate piece of wood. In Kanjoraku, where a dancer finds a snake and dances vigorously, a coiled wooden snake figurine like the one in this painting is used.5
Symbolism of the Snake
Stoneware | Three Kingdoms period (Silla), second half of the 5th century | Korea.
朝鮮｜三国時代（新羅）・5世紀後半｜土製 ｜小倉コレクション保存会寄贈 6
What kind of image do people have of snakes as symbols? Despite having no limbs, snakes can move quickly anywhere, swim well, and climb trees and walls vertically. In this section, we will look at snakes, which have become symbols that carry various meanings in cultures throughout history and around the world.
Symbol of Wisdom and Deceit
19th century replica | Ceramic | Original: 5th century BC | Gift of the Museum für Völkerkunde zu Leipzig
A coiled snake is attached to the helmet. Athena was the goddess of wisdom and war, and the patron deity of the city-state of Athens. The reason why the snake became Athena’s symbol is because it was said that a giant snake lived in the temple of Athens long ago, and the snake was a creature that evoked wisdom.6
The Buddha Seated on a Nãga ナーガ上のブッダ坐像 (Thailand)
Stone | Angkor period, 12th- 13th century | Found in Lopbur, Thailand.
石造｜アンコール時代・12～13世紀｜タイ・ロッブリー出土，三木梁氏奇贈
This statue depicts the legend in which Mucalinda, a serpent-like Nãga king, formed a canopy over the Buddha to shield him from wind and rain during his meditation.
The Garden of Eden エデンの園
By Yamamoto Hösui | Meiji era, 19th century | Oil on canvas. 山本芳翠筆｜明治時代・19世紀｜カンバス・油彩
Behind the rose bush in full bloom, a snake is lifting its head. In ancient Western Asia, snakes were generally considered sacred creatures, but in this story they play the villain who deceives humans. In the Garden of Eden, the devil tempted Adam and Eve to commit the original sin. And the devil has always been depicted as the serpent.7
Symbol of Power and Protection
Egypt | 24th-25th dynasty, ca. 8th century BC | Bronze with colored glass
Poisonous snakes have become symbols of power and are revered as guardian deities. The snake’s helpless eyes and expressionless face are connected to the image of a wise person.
Gold Seal of King of Na (Copy) 金印 漢委奴国王（模造）
Gold | Replica: Showa era, 20th century | Original: China | Eastern Han dynasty, 1st century | National Treasure found in Fukuoka City, Fukuoka. 昭和時代・20世紀｜金製 ｜原品：国家、福岡市東区志賀島出土｜中国｜後漢時代・1世紀｜福岡市博物館蔵
In ancient China, seals indicated the owner’s position and role depending on the material, shape of the knob, and the string (ribbon) that hung from them. In the Later Han Dynasty, the material and ribbon of the seal indicated status and position, while the shape of the knob indicated the region or ethnicity. The gold seal with a snake knob that Emperor Guangwu gave to the Nakoku Kingdom indicates that he recognised the king as a king of a different ethnic group in the south.9
Cloth (Hinggi Kombu) with Human Heads and Animals ヒンギ・コンブ首架動物文様経絣 (Indonesia)
Plain-weave cotton with warp-ikat dyeing | 19th century | From Sumba, Indonesia
平織（木綿）、経絣｜19世紀｜インドネシア・スンバ島
Men on the island of Sumba in Indonesia wore this type of garment around their waist or over their shoulder. The design includes snakes, which represent strength and protective power.
Ancestor Spirit 祖霊像 (Taiwan)
Wood | 20th century | Collected from Paiwan people, Taiwan.
木製｜台湾、パイワン族 ｜20世紀｜田中泰雄氏寄贈
This architectural ornament was crafted by the Paiwan people 排湾族 of southern Taiwan. It shows an ancestral spirit alongside a deadly venomous snake, the hundred pacer snake 百步蛇. The Paiwan believe that their ancestors were born from this fearsome serpent.
Paiwan Sword 佩刀 (Taiwan)
Wood, brass, and iron | Second half of 19th-early 20th century | Collected from Paiwan people, Taiwan. 木、真鍮、鉄｜19世紀後半～20世紀初頭｜台湾、パイワン族
This sword is worn on the waist by the Paiwan people, an indigenous people of southern Taiwan. The Hundred-Pace Snake is carved into the scabbard. The shape of the end of the scabbard, which flips up, also resembles a snake. The Hundred-Pacer Snake is characterised by triangular patterns all over its body, and this symbol of triangular patterns is found on Paiwan crafts.
Symbol of Fertility
Snake-Shaped Handle 蛇体把手
Earthenware | Jomon period, 3000-2000 BC | (L) Found in Hachiöji City, Tokyo, (R) Found in Kawasaki City, Kanagawa. 土製｜縄文時代（中期）・前3000～前2000年｜（左）東京都八王子市宮下町出土、塩野半十郎氏寄贈 （右）神奈川県川崎市宮前区・高津区・多摩区向ヶ丘地区出土
People have found “power” in snakes and superimposed various images on them. Because of their ecology of repeatedly shedding their skin, snakes have become symbols of rejuvenation and rebirth.
Deep Vessel (Jomon Period) 深鉢形土器
Earthenware | Jomon period, 3000-2000 BC | Found in Hachiöji City, Tokyo. 土製｜縄文時代（中期）・前3000～前2000年｜東京都八王子市楢原町出土，後藤守一氏寄贈
Pottery from eastern Japan in the middle Jomon period often featured motifs of snakes and frogs. For the Jomon people, snakes and frogs, which shed their skin and metamorphose, were symbols of vitality and fertility. By decorating pottery used for cooking with snake and frog motifs, they hoped for the bounty of nature and received the power of these creatures.10
Snake Figurine 蛇形土偶 (Iran)
Reportedly from Luristan, Iran | Iron age, ca. 1,000 BC | Ceramic. 伝イラン、ルリスタン地方｜鉄器時代・前 1000年頃｜土製、谷村敬介氏寄贈
In ancient Western Asia, snakes were considered creatures associated with rebirth and fertility, and there are many known examples of snakes being depicted together with gods. Given this, these clay figurines of snakes may have been votive offerings. Although they are simple looking clay products, they capture the movements of a snake twisting its body.11
Hand Washer (Yi) 刻文匜 (China)
Bronze with incised decoration | Warring States period, 5th-4th century BC | China. 中国｜戦国時代・前5～前4世紀｜青銅
This is a vessel for pouring purified water over hands during ceremonies. A striped wriggling snake is engraved on the inside, and a fish is engraved on the spout.
The way the water flows from the snake to the fish may have been intended to imbue the water filled with it with the spiritual power of rebirth, similar to the story in the Shan Hai Jing 『山海経』of a snake being reincarnated as a fish in the heavenly home.12
Shapes of Snakes
Light green glass | Roman period, late 2nd century BC-3rd century BC | Found in Syria, Private collection
淡緑色ガラス｜ローマ時代・前2世紀末～前3世紀｜シリア出土、個人蔵
This section brings together a wide variety of snakes, made in different places, eras, materials, and methods of expression.
Ornamental Dish with Animals 色絵虫魚浮彫飾皿 (Germany)
Stoneware with relief decoration and overglaze enamel | Gift of Londos & Co. | 19th century.
陶製｜19世紀｜ロンドウス社寄贈
Snakes that wriggle along the ground, snakes that make a sickle sound, and snakes that are coiled up and compact. Snakes have a high degree of freedom in their movements, and they can take on a variety of shapes and forms.
Museum’s Catalogue of Insects: Turtles, Lizards, and Toads 博物館虫譜 亀・蜥蜴・蝦蟇類
Colour on paper | Compiled by the Museum Bureau; illustrated by Kurimoto Tanshû et al. | Original illustrations: Edo period-Meiji era, 19th century; bound in the Meiji era, 1878. 博物局編、栗本丹洲他画｜原図：江戸～明治時代・19世紀、製本：明治11年（1878）｜紙本着色
Following traditional Japanese thought, it groups lizards, snakes, frogs, prawns, and crabs into the category of “insects.” These pages depict the Japanese rat snake, one of the largest snakes in Japan.15
These characteristics of snakes have stimulated the sensibilities of painters and craftsmen, and they have been expressed in a variety of crafts and paintings since ancient times.
Surcoat (Jinbaori) with Concentric Circles 陣羽織 茶麻地蛇の目模様
Ramie with stencil-dyeing | Edo period, 18th century. 江戸時代・18世紀｜麻、型染
It is also common to see patterns that use parts of snakes, such as eyes and scales, as motifs. What is interesting about snakes is that there are also ornaments and toys that are made to reproduce the movements themselves.
Articulated Snake 自在蛇置物
Forged iron by Muneyoshi | Showa era, 20th century. 宗義作｜昭和時代・20世紀｜鉄製、鍛造
An artisan made this snake ornament by connecting the cylindrical components with rivets. The snake can be posed freely in various positions, such as coiled or slithering. Articulated metal figurines like this were likely developed by armour makers. They became popular export products from the late 1800s.
Snake-Shaped Container 蛇形容器
Excavated in eastem Mediterranean region | 4th-5th century | Light green and blue glass | Private collection. 地中海東部出土｜4～5世紀｜淡緑・淡青色ガラス｜個人藏
This blown-glass container was excavated in the eastern Mediterranean. An artisan shaped and coloured the glass with remarkable freedom and artistry, depicting what appears to be a snake that has swallowed its prey.
Snakes and Prayers
Wood with pigment, cut gold leaf, and inlaid crystal eyes | Kamakura period, 13th century | Private collection.
木造、彩色•截金、玉眼｜鎌倉時代•13世紀｜個人蔵
In this section, we will introduce auspicious snakes suitable for the New Year, such as Genbu 玄武17, the water god who protects the north, Benzaiten 弁才天, a god with a coiled snake body, who represents Ugajin 学賀神 above his head, and the Twelve Heavenly Generals 十二神将, who have sharp glares like snakes.
Cast bronze with carving and gilding | OQing dynasty-Republic of China period, 19th-20th century.
銅鋳造、彫金、鍍金｜清～中華民国時代 • 19～20世紀｜渡邊豊太郎氏・渡邊誠之氏寄贈
Many snake sculptures are filled with people’s prayers and wishes. In particular, in Japan, where rice cultivation is popular, the Hojo has been regarded as a water god who brings fertility and has been associated with the image of a dragon, and has been regarded as sacred. In addition, as snakes are still associated with good luck and fortune, snakes have also been played with as messengers of Benzaiten, who governs wealth and fortune.
Water Dropper in the Shape of the Black Tortoise 玄武水滴
Cast bronze with carving | Edo period, 18th-19th century
銅製、鋳造、彫金｜江戸時代・18～19世紀｜渡邊豊太郎氏・渡邊誠之氏寄贈
A water dropper is a container for holding water to be poured into an inkstone. The snake riding on the back of the is reminiscent of the mythical beast Xuanwu (or Genbu 玄武 in Japanese), which is a combination of a snake and a turtle. The turtle is holding something like a bowl in its mouth, and a similar water dropper is included in the Ming Dynasty encyclopaedia “Sancai Tuhui” 《三才圖繪》, showing that it is a traditional form that originated in China. 18
The Star Mandala (19th Century Copy) 星曼荼羅図（模本）
Copied by Watanabe Keizo | Meiji era, 19th century | Colour on paper Original: Heian period 12th century | Horyuji Temple, Nara. 渡辺啓三模｜ 明治時代・19世紀｜紙本着色｜原本：重要文化財、平安時代・12世紀｜奈良・法隆寺所蔵
This is a diagram for praying to the stars for happiness, and it depicts the Big Dipper and the twelve zodiac signs. In the centre of the diagram, a statue of Shaka, who controls the stars, sits on Mount Sumeru, which stands at the center of the world in the Buddhist cosmic view. Two snakes with human heads are wrapped around the bottom of the mount, and they are the dragon kings, brothers of difficulty and difficulty, who always watch over Shaka.
Heavenly Gods and Goddesses 天帝図
Colour on silk, Artist unknown | China | Yuan-Ming dynasty, 14th-15th century | Lent by Reiunji Temple, Tokyo. 絹本着色，筆者不詳｜中国｜元～明時代・14～15世紀｜東京，靈雲寺
Important Cultural Property 重要文化財
This painting illustrates the beliefs of Daoism, an important Chinese religion and philosophy. It shows Xuanwu 玄武, a higher-ranking Daoist god, surrounded by his divine generals and attendants.19
Benzaiten, Goddess of Good Fortune 弁才天坐像
Wood with pigment, cut gold leaf, and inlaid crystal eyes | Kamakura period, 13th century | Private collection. 木造、彩色•截金、玉眼｜鎌倉時代•13世紀｜個人蔵
The goddess Benzaiten 弁才天 brings wealth and good fortune to the faithful. Here, a coiled snake with the face of an old man rests on her head. This is Ugajin 学賀神, a god associated with food and farming. These two deities are shown together probably because Benzaiten is also the goddess of rivers, which are used to irrigate farmland. This statue is the oldest example of Ugajin remaining in its original form.20
Snakes in Stories
In this section, we will focus on the snakes that are the central characters to myths and stories.
Deities and Saints Against Snakes
Colour on paper by Tosa Mitsunobu | Muromachi period, 1517. 土佐光信筆｜室町時代・永正14年（1517）｜ 紙本着色
The image of a giant snake that overwhelms humans often appears in legends and stories, threatening people with its large mouth that swallows humans and animals, its poison that wraps around the body, or its poisonous fangs.
Volume 3 of Illustrated Origins of Kiyomizu Temple 清水寺縁起絵巻 巻下
Colour on paper by Tosa Mitsunobu | Muromachi period, 1517.
土佐光信筆｜室町時代・永正14年（1517）｜ 紙本着色
Important Cultural Property 重要文化財
This scroll depicts the history of Kiyomizu Temple 清水寺 in Kyoto. In this section, a traveling monk from the temple is attacked by a giant snake while sleeping under a pine tree. After pleading with the gods for help and vowing to dedicate a sacred sculpture to the temple, he is left unharmed by the snake.21
The Shinto God Susano’o no Minato 素戔鳴尊 八岐の大蛇
Woodblock print (nishiki-e) by Utagawa Toyokuni I | Edo period, 19th century
錦絵，歌川豊国筆 ｜江戸時代 19世纪｜2枚1組
For example, in Japanese mythology, there is the monster Yamata no Orochi, who confronts Susanoo. The giant snake that appeared from the raging waves and swirling cloud fields is Yamata no Orochi, a snake with eight heads and tails that appears in Japanese mythology. The snake, which eats one girl each year, tries to swallow Princess Inada, but Sunami-no-Mikoto gets it drunk and cuts it to pieces, defeating it, according to legend. The giant snake is depicted in a dragon-like form. 22
Duel of Sorcery between Hakamadare Yasusuke and the Kidomaru 袴垂保輔鬼童丸術競図
Woodblock print (nishiki-e) by Tsukioka Yoshitoshi | Edo period, 19th century. 月岡芳年筆｜明治時代・19世紀｜大判錦絵竪2枚続 ｜小林清子氏寄贈
Floating in the air is the great thief Hakamadare Yasusuke, who makes a hand sign and rides a giant snake. Below him, Kidomaru, said to be the son of Shuten-doji, flaps a monster bird. The mysterious contest between the two magicians is based on Kyokutei Bakin’s novel “Shitenno Toiroku” 『四天王盗異録』, but in the original work, Kidomaru controls the giant snake.23
Tragedy of Anchin and Kiyohime
Colour on paper | Edo period, 18th century. 江戸時代・18世紀｜紙本着色
In the Anchin and Kiyohime legend, the vengeful spirit of Kiyohime turns into a giant snake because of her obsession.
The Tale of Hidakagawa (Copy) 日高川草紙（模本）
Colour on paper | Edo period, 18th century. 江戸時代・18世紀｜紙本着色
This work depicts the legend of Anchin and Kiyohime. A monk and a woman promised to marry each other. The monk was troubled by this and left the woman, but the woman followed the monk and drowned herself in the Hidaka River. The woman turned into a snake and kidnapped the monk who hid inside the temple bell. This story has been featured in various performing arts such as Noh and Kabuki.
“Kiyohime” from the Series Comparisons of True Courage 真勇競・きよ姫
Woodblock print (nishiki-e) By Utagawa Kuniyoshi | Edo period, 1856. 長大判錦絵 ，歌川国芳筆｜江戸時代・安政3年（1856）
In the legend of Dojoji 道成寺の伝説, the young woman Kiyohime 清姫 chases the monk Anchin 安珍, whom she loves, and becomes so obsessed with that she turns into a giant snake, wraps herself around the bell where Anchin has taken refuge, and burns him to death along with the bell. The kabuki play “Dojoji” is a sequel, and the story moves to its climax from this terrifying scene in which Anchin looks up at the bell.
Noh “Dojoji”「道成寺」
The appearance of snakes like these has been incorporated into various performing arts as a presence that adds excitement to stories, and has been depicted in paintings and crafts, making them familiar to people.
Noh Costume (Surihaku) with Triangles 褶箔 白地鱗模様
Edo period, 18th century | Plain-weave silk with stencilled gold leaf
江戸時代・18世紀｜平絹、型紙による金箔押し
This costume was designed for use in Noh theater, a traditional performing art that was patronised by the samurai. It would have been worn by an actor playing the role of a female demon. The golden scales are intended to suggest the demon’s serpent-like body.
Hair Band for Noh Performances (Katsura Obi) 鬘帯紅金地麟形案 江户时代 18世纪
Silk satin with embroidery and stencilled gold leaf | Edo period, 18th century
編子（絹）、刺繍、型紙による金箔押し｜江戸時代・18世紀
When performing the role of the giant snake, the second shite in the Noh play “Dojoji”「道成寺」, this wig belt is tied behind the head under a Noh mask such as “Hannya” 「般若」or “Snake”「蛇」. The scales, which represent a snake, are made of gold leaf on a red background, and the scales are embroidered with black thread around them, so the strength of the pattern also represents the spiritual strength of the shite.
Noh Costume (Nuihaku) with Scattered Crests 縫箔 紺地丸紋散模様
Silk satin with embroidery and stenciled gold leaf | Edo period, 18th century
編子（編）、刺繍、型紙による金箔押し｜江戸時代・18世紀
This costume was intended for use in the traditional performing art called Noh. It would have been worn by an actor playing the role of a female demon. Beneath this costume, the actor would have worn a garment with triangular scales (on display nearby) suggesting a serpent’s body.
Noh Mask: Snake 能面 蛇
Wood with pigment | Edo period, 17th-18th century 木造、彩色 ｜江戸時代・17～18世紀
The Noh mask “Snake” used in the Noh play “Dojoji” 「道成寺」depicts the gills of a woman who was consumed by jealousy and turned into a snake. It has horns and fangs, a sea bream-like body, and a mackerel-like shape around its wide-open mouth. This mask is unusual for a snake in that it has golden skin and ears, but the shape of the ears is also different from that of a human.
Snakes in Japanese Art
Snakes are a popular subject in Japanese art and tattoos, and are known as hebi in Japanese. They are considered to be protective, wise, and lucky, and are often associated with water, women, and good and evil.
Open mouth
A snake with its mouth open might represent aggression and protection.
“Arrow-Shot-Tiger Ding Desun” (L) and “Dragon-in-the-Clouds Gongsun Sheng” (R) from the Series 108 Heroes from the Popular Tale Water Margin
通俗水滸伝豪傑百八人之壹人 • 中箭虎丁得孫（左）入雲龍公孫勝（右）
Woodblock print (nishiki-e) By Utagawa Kuniyoshi | Edo period, 19th century.
歌川国芳筆｜江戸時代・19世紀｜大判 錦絵｜江森早苗氏寄贈
“Suikoden” 「水滸伝」 is a popular novel from the Ming Dynasty in China. It became popular in Japan in the 18th century, and in the first half of the 19th century, a “Suikoden” boom occurred through the ukiyo-e 浮世絵 prints of Katsushika Hokusai 葛飾 北斎 (famous for his Tsunami prints) and Utagawa Kuniyoshi 歌川国芳. Gongsun Sheng shows off his Taoist skills, and Ding Desun fights a poisonous snake. In both cases, the snake’s writhing body fills the screen, highlighting the power of the heroes.24
Paired with a tiger
A snake paired with a tiger might symbolise resilience, adaptability, and the balance between primal instincts and higher consciousness
Japanese Tiger and Dragon
Doan (Yamada Yorikiyo), ink on paper | c. 1560 | The Minneapolis Institute of Art Collection
On your right, a dragon shoots into view from a swirling cloud. His motion whips the water below into wild waves. The dragon opens his mouth to roar, as tufts of hair and whiskers fly in all directions. On your left, a tiger crouches low to the rocky ground. Steady and strong in the wind that bends the bamboo behind her, she silently eyes the dragon in the heavens. Not even her whiskers twitch. Standing between these screens in a room might give you a sense of being in the middle of something big. For Japanese in the 16th century, they might have suggested the powers of the cosmos.
Coiled
A snake in a more coiled position might represent wisdom and the cyclical nature of life
Plaque with a Scene of the Genjöraku Dance 還城楽図額
Iron with raised inlay by Unno Shömin | Meiji era, 1893.
鉄地高肉象嵌, 海野勝珉作｜明治 26年（1893）｜ シカゴ・コロンブス世界博覧会事務局
Unno Shomin (1844-1915) was a leading figure in metalwork and became an Imperial Household Artist.
A dancer before a coiled snake is depicted in realistic detail using gold, silver, bronze, and alloys. This scene depicts “Genjoraku,” one of the dances from the court performance of Bugaku.
Ukiyo-e 浮世絵
Ukiyo-e is a genre of Japanese art that flourished from the 17th through 19th centuries. Its artists produced woodblock prints and paintings of such subjects as female beauties; kabuki actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora and fauna; and erotica. The term ukiyo-e (浮世絵) translates as ‘picture of the floating world’.
Pheasant and Snake 雉子と蛇 (Katsushika Hokusai)
Pheasant and Snake 雉子と蛇
By Katsushika Hokusai | Edo period, 19th century. 葛飾北斎筆｜江戸時代・19世紀｜団扇絵判 錦絵
Important Cultural Property 重要文化財
Meant to be mounted on a paper fan, this painting depicts a snake slithering around a pheasant. Pheasants can kill snakes, and this painting shows both creatures gauging their distance before the deadly struggle.
“The Ghost of the Sarayashiki Residence” from the Series One Hundred Ghost Stories 百物語・さらやしき (Katsushika Hokusai)
“The Ghost of the Sarayashiki Residence” from the Series One Hundred Ghost Stories 百物語・さらやしき
Woodblock print (nishiki-e) by Katsushila Hokusai | Edo period, 19th century
葛飾北斎筆｜江戸時代・19世紀｜中判 錦絵
The servant Okiku was thrown down a well for breaking dishes. She returned as a ghost with a snake-like neck made of dishes.
Benzaiten, Goddess of Good Fortune 弁財天 (Aoigaoka Keisei)
Benzaiten, Goddess of Good Fortune 弁財天
Woodblock print (surimono) By Aoigaoka Keisei | Edo period, 19th century. 葵岡渓栖筆｜ 江戸時代・19世紀｜色紙判摺物
The one wearing the jeweled crown and playing the biwa is Benzaiten 弁才天of Enoshima. One day, when Hojo Tokimasa 北条時政 prayed for the prosperity of his descendants and retreated to Enoshima, Benzaiten appeared and promised to grant his wish, then turned into a giant snake and disappeared into the sea. The three scales 三枚 that Benzaiten holds in her hand are also said to be the origin of the Hojo family crest, 「三つ鱗」”Mitsuuroko.”
“Year of the Snake in Ikenohata” from the Series Famous Places of Edo and the Twelve Zodiac Signs 一陽連江戶名所見立十二 • 巳 池の端 (Gakutei Harunobu)
“Year of the Snake in Ikenohata” from the Series Famous Places of Edo and the Twelve Zodiac Signs 一陽連江戶名所見立十二 • 巳 池の端
Woodblock print (surimono) By Gakutei Harunobu | Edo period, 19th century. 岳亭春信筆｜江戸時代・19世紀｜色紙判摺物
This is one of a set of 12 狂歌摺物 kyoka surimono (traditional Japanese poetry prints) that combines temples and shrines in Edo with the zodiac signs. This painting of the day and year is based on the Benten-do 弁天堂 temple at Shinobazu Pond 不忍池, which is closely associated with snakes. Benten is also identified with the human-headed snake-bodied deity Jigaku-jin, and even today, the day of the festival is held on the day of the festival. During the Edo period, she was also worshipped by people as one of the 「谷中七福神」”Yanaka Seven Lucky Gods.”
White Snake on a Pine 胆松に白蛇 (Keisai Eisen)
White Snake on a Pine 胆松に白蛇
Woodblock print (surimono) By Keisai Eisen | Edo period, 19th century. 渓斎英泉筆｜江戸時代・19世紀｜色紙判摺物
This is a surimono print suitable for New Year’s Day, depicting a white snake, believed to be the messenger of Benten, entwined around a pine tree in the morning sun. 摺物 Surimono are woodblock prints that were produced not for sale but to be given away. Creating and exchanging 春興摺物 Shunko surimono prints, which combined pictures and 狂歌 kyoka poetry celebrating the New Year, became popular among hobbyists in the late Edo period.
The Actors Yamashita Mangiku I and Sakata Tomijurõ l as a Young Couple Sharing an Umbrella 初代山下方菊と初代串料富十郎の相合傘 (Katsukawa Shunshõ)
The Actors Yamashita Mangiku I and Sakata Tomijurõ l as a Young Couple Sharing an Umbrella By Katsukawa Shunshõ | Edo period, 18th century 初代山下方菊と初代串料富十郎の相合傘
Woodblock print (nishiki-e) By Katsukawa Shunshõ | Edo period, 18th century. 勝川春章筆｜江戸時代・18世紀｜細判錦絵
The first Yamashita Mankiku 山下万菊 and the first Nakamura Tomijuro 中村富十郎, dressed as a young man and woman, are sharing an umbrella. The concentric black and white rings in this pattern resemble the eyes of a snake, and so the umbrella is called Janome 相合傘. Janome umbrellas are used as important props to highlight the performance of Kabuki actors in scenes such as Michiyuki 道行 and Sukeroku 助六.
“Snake and Boar” from the Series Zodiac Pairs in the Floating World 浮世七ツ目合 • 巳亥 (Kitagawa Utamaro)
“Snake and Boar” from the Series Zodiac Pairs in the Floating World 浮世七ツ目合 • 巳亥
Woodblock print (surimono) By Kitagawa Utamaro | Edo period, 19th century. 喜多川歌麿筆｜江戸時代・19世紀｜大判 錦絵
The combination of a certain zodiac sign and the seventh zodiac sign counting from it is said to bring good luck. This piece depicts a combination of a snake toy, which is associated with the Year of the Snake 巳年, and a fan depicting a boar, which is associated with the Year of the Pig 亥年. The snake toy being manipulated by the woman on the right has a mechanism that makes it move sideways, and the girl next to her is amazed at how realistic it looks.
“Obsession” from the Series One Hundred Ghost Stories 百物語・しうねん (Katsushika Hokusai)
“Obsession” from the Series One Hundred Ghost Stories 百物語・しうねん
Woodblock print (nishiki-e) By Katsushika Hokusai | Edo period, 19th century 葛飾北斎筆｜江戸時代・19世紀｜中判 錦絵
Offerings and water are placed next to the tablet, and a mountain-shaped snake 山棟蛇 is coiled around it, making a rustling sound. The name 「モモンジイ」”Momonjiin” written on the tablet is a play on the word 「茂問爺院」”Momonjii,” which was the general term used by Edo people to refer to monsters. The “manji” 「卍」(swastika) on the water container is also used in Hokusai’s pen name, so it is thought to be Hokusai’s own tablet.
About Tokyo National Museum 東京国立博物館
The Tokyo National Museum collects, houses, and displays a comprehensive collection of art works and antiquities from Japan as well as other Asian countries. In 1882, it moved to the current location in Ueno Park. The current campus includes six buildings.
本館 Honkan (Japanese Gallery)
The main Honkan building was opened in 1938 and exhibits a variety of Japanese artwork from ancient times to the 19th century including antique Buddhist statues, painted sliding doors, scrolls, ceramics and maps in addition to cultural items such as masks, costume, armour and weapons among other historical artefacts.
東洋館 Toyokan (Asian Gallery)
To the right of the Honkan stands the Toyokan building, designed in 1968 by Japanese architect Taniguchi Yoshiro. The building features galleries displaying Asian art and artifacts from China, Korea, Southeast Asia, Central Asia, India and Egypt.
平成館 Heiseikan: Japanese Archaeology and Special Exhibitions
Behind the Honkan stands the Heiseikan, a fairly recent addition to the museum built to commemorate the then Crown Prince’s wedding in 1993. It houses exhibitions on ancient Japanese cultures as well as large scale special exhibitions.
法隆寺宝物館 The Gallery of Horyuji Treasures
The museum’s newest building, the Horyuji Homotsukan or the Gallery of Horyuji Treasures, was built to house a collection of religious objects consisting mostly of small, intricate statues and copper relief images donated by Horyuji Temple in Nara.
表慶館 Hyokeikan
To the left of the Honkan stands the Hyokeikan, the oldest building on the grounds, which was built in 1909 in celebration of the Taisho Emperor’s wedding. The Hyokeikan is a representative example of Western-style architecture during the Meiji Period and is registered as an important cultural property.
The building is primarily used for temporary exhibitions and has undergone several renovations over the years to maintain the structure.
Tokyo National Museum 東京国立博物館
13-9 Ueno Park, Taito-ku, Tokyo, 110-8712, Japan
Opening Hours:
9:30 a.m.-5:00 p.m. (except Mondays, excluding holidays. On those days, the Museum will be open on Monday and closed the following day)
Open until 8:00 p.m. on Fridays, Saturdays, January 12 and February 23, 2025.
Footnotes :
Unless otherwise indicated, the footnotes are information from the museum display tag.
- 南瓜のゴツゴツした質感と蛇のウロコの表情を彫り分けた木彫根付。根付は和装の留め具の一つで、提げ物と紐でつなぎ、帯にひっかけて使用します。こうした用途に適した形状と、丈夫な構造を持たせた上で、繊細な彫刻を施す点が見所です。
南瓜的粗糙質地和蛇鱗的表面充滿情感的木製根付。 Netsuke 是日本服裝中使用的緊固件；它用繩子繫在懸掛物體上，然後掛在腰帶上。它們之所以有趣，是因為它們的設計適合這些用途，結構堅固，而且雕刻精美。
↩︎ - In 2025, the Heavenly Stem is Yi 乙, representing Wood, while the Earthly Branch is Si 巳, representing Fire, thus establishing the year of Yisi 乙巳. Therefore, individuals born in 2025 may be called ‘Wood Snake’ or ‘Fire Snake’ or ‘Wood Fire Snake’. The five elements interact with one another in a cyclical manner; as a result, Wood gives rise to Fire. This interconnectedness results in the Wood Snake exhibiting a notably complex personality, embodying traits of both Wood and Fire. https://www.sydney.edu.au/news-opinion/news/2025/01/23/lunar-new-year-chinese-2025-year-of-the-snake.html ↩︎
- The Chinese zodiac is a 12-year cycle that links each year to an animal sign. The 12 animal signs are Rat (shu 鼠), Ox (niu 牛), Tiger (hu 虎), Rabbit (tu 兔), Dragon (long 龍), Snake (she 蛇), Horse (ma 馬), Sheep (yang 羊), Monkey (hou 猴), Rooster (ji 雞), Dog (gou 狗) and Pig (zhu 豬). https://www.sydney.edu.au/news-opinion/news/2025/01/23/lunar-new-year-chinese-2025-year-of-the-snake.html ↩︎
- https://www.hko.gov.hk/en/gts/time/stemsandbranches.htm#:~:text=The%2010%20heavenly%20stems%20are,%2DZi%20(Table%202). ↩︎
- 血管の浮き出た頭部、深いしわの刻まれた頬、顎を別材とし品顎とするなど、還城楽の面の特徴をよく表わしています。ヘビを見つけた舞人が激しく舞う還城楽では、本図のようにとぐろを巻いた木製のヘビの置物が用いられます。
頭部青筋明顯，臉頰皺紋很深，下巴由分離材料製成，這些都很好地體現了堪輿面具的特徵。在 Kanjōraku 舞蹈中，舞者找到一條蛇並激烈地跳舞，使用如圖所示的盤繞的木蛇雕像。
↩︎ - とぐろを巻くヘビが兜についています。アテナは知恵と戦争の女神であり、都市国家アテネの守護神でした。ヘビがアテナのシンボルとなった背景には、その昔、アテネの神殿に大蛇が棲んでいると言じられていたこと、ヘビが知恵を想起する生き物であったことが関係しています。
頭盔上有一條盤繞的蛇。雅典娜是智慧與戰爭女神，也是雅典城邦的守護神。蛇之所以成為雅典娜的象徵，是因為傳說很久以前雅典神殿裡住著一條巨蛇，而蛇是與智慧相關的生物。
↩︎ - 見頃を迎えた薔薇の木の後ろでヘビが鎌首を持ち上げています。。「日約聖書』のアダムとイブの楽園追放の発端となった「知恵の」をめぐる物語を想起させます。古代西アジアでは一般に、ヘビは神聖な生き物とされましたが、この物語では人間をたぶらかす悪役を演じます。
↩︎ - 古代エジプトのおそらくオシリス神像の冠にとりつけられていた飾りの一部。 色ガラスが象嵌された部分には、太陽円盤を頭上にのせ、上体を起こしているコブラの姿が表現されています。このコブラはウラエウスと呼ばれ、古代エジプトでは王権、支配者の象徴でした。
這可能是古埃及神奧西里斯雕像王冠上的裝飾物的一部分。彩色玻璃鑲嵌物描繪了一條站立的眼鏡蛇，頭上有一個太陽圓盤。這種眼鏡蛇被稱為蛇形蛇，是古埃及皇室和統治的象徵。
↩︎ - 古代中国の印は、材質やつまみ（鈕）の形、下げる紐（綬）によって、所有する人の立場や役割を表します。後漢では、印の材質や綬で地位や役職を、鈕の形で地域や民族を表しました。光武帝が奴国に与えた蛇鈕をもつ金印は、南方の異民族の王として認めたことを示すものです。
中國古代印章透過印章材質、印記形狀、以及印章上的繩子來表明主人的地位和角色。後漢時期，印的材質、瑤帶表示身份、地位，而鈕扣的形狀則表示地理或民族。光武帝賜給南國國族的蛇鈕金印，顯示他承認南國國族為南方外族之王。
↩︎ - 縄文時代中期の東日本の土器には、蛇や蛙のモチーフがしばしば施されました。縄文人にとって、脱皮し変態する蛇や蛙は、生命力や豊穣を意味する象徴でもありました。煮炊きする土器を、蛇や蛙のモチーフで飾ることでその力にあやかり、豊かな自然の恵みを強く願ったのです。
繩文時代中期日本東部的陶器經常以蛇和青蛙的圖案為特色。對繩文人來說，蛇和青蛙這些蛻皮並經歷變態的動物也是活力和生育力的象徵。人們在用於烹調的陶器上裝飾蛇和青蛙的圖案，以祈求大自然的豐沛恩惠並汲取其力量。
↩︎ - 古代西アジアでは、ヘビは再生や豊穣と結びつく生き物とされ、神とともに表現される事例が多く知られています。そうすると、こうしたヘビの土偶は奉納品であったのかもしれません。シンプルに見える土製品ですが、にょろっと身体をひねるヘビの動きをとらえています。
在古代西亞，蛇被認為是與重生和生育有關的生物，並且經常與神一起出現。如果確實如此，這些泥塑蛇像可能就是用來獻祭的。雖然看起來是一件簡單的黏土作品，但它卻捕捉到了蛇扭動身體的動作。
↩︎ - 儀式の際に、清めの水を手に流しかけるための器です。内面には縞模様のうごめく蛇を、注ぎ口には魚を線刻しています。水が蛇から魚へと流れるさまは、『山海経』にみる天界の家で蛇が魚に転生した故事と同様に、満たした水に再生の霊力を宿すねらいがあったのかもしれません。
它是一種在儀式中用來將淨化水倒在手上的容器。壺內壁雕有一條條紋狀、蠕動的蛇，壺嘴處則雕有一條魚。水從蛇流向魚的方式，或許是為了賦予水重生的精神力量，類似山海經中蛇轉世為魚的故事。
↩︎ - 溶かして伸ばせるガラスはヘビの姿を表現するのに適した素材。本作品は頸部が内側に絞られており、中身の液体を一滴ずつ振り出すことができました。中身が何だったかは不明ですが、ローマ時代のガラス瓶に見られる蛇体文は再生、治癒などを象徴していた可能性があります
Glass, which can be melted and stretched, is an ideal material for expressing the shape of a snake. The neck of this work is squeezed inward, allowing the liquid inside to be shaken out drop by drop. It is unclear what was inside, but the snake motif seen on Roman glass bottles may have symbolized rebirth, healing, etc.
玻璃可熔化、可拉伸，是表現蛇形的理想材料。這件器物的頸部被擠壓得向內，讓裡面的液體一滴一滴地抖出來。目前尚不清楚瓶中裝的是什麼，但在羅馬玻璃瓶上發現的蛇圖案可能像徵著重生、治癒等。
↩︎ - ヘビやトカゲ、カエルや虫が本物さながらに、かつ独創的に組み合わされた装飾が目を引きます。もとは16世紀に活躍したフランスの作陶家ベルナール・パリッシーのうつわです。1855年のパリ万博出品作など、「パリッシー写し」は19世紀中頃にヨーロッパで人気を博しました。
這些引人注目的裝飾品以蛇、蜥蜴、青蛙和昆蟲為特色，經過創造性的組合，看起來像真實的一樣。這盤盤子最初是由 16 世紀法國陶藝家伯納德·帕利西 (Bernard Palissy) 製作的。 1855 年巴黎世界博覽會上展出的「帕利西複製品」在 19 世紀中葉在歐洲流行起來。
↩︎ - 本作品は明治初期に博物局（館の前身）が作成した図譜です。日本で最大級の蛇、アオダイショウが描かれています。右のページは背面から、左は腹面から観察された図です。青みがかった灰緑色の背、細長い胴とそのうねりは、アオダイショウの特徴をよくとらえています。
本作品是明治初期博物局（博物館的前身）製作的圖鑑。它描繪的是日本鼠蛇，日本最大的蛇類之一。右頁是從背部觀察到的圖像，左頁是從腹部觀察到的圖像。藍灰綠色的背部、細長的身體和起伏的體形很好地體現了日本鼠蛇的特徵。
↩︎ - 本来は陣中で鎧の上に着用する羽織でしたが、江戸時代にはその用途は形骸化し武士を象徴する服飾となりました。粗く平織にした麻地に柿渋を塗り、丹でドーナツ型の蛇の目模様を型染にします。衿には「蝦夷錦」と称される北方まわりで輸入された中国産の錦が用いられました。
它原本是戰鬥時穿在鎧甲外面的羽織（日本外衣），但在江戶時代，這種用途已經過時，它成為了象徵武士的服裝。在粗織的亞麻布上塗上柿子單寧，然後用朱紅色模印出甜甜圈形狀的蛇眼圖案。衣領採用一種名為「蝦夷錦」的織錦製作，這種織錦是從中國經北方進口的。
↩︎ - 玄武の形をした水滴。中国には方位を守る神として、東の青龍、南の朱雀、西の白虎、北の玄武という四神がいるとされ、玄武は毛と蛇が合わさった姿で表わされます。この水滴では七宝で飾られた亀の甲羅に、金属製の蛇が這う姿で表わされています。
A water drop in the shape of a black turtle. In China, there are four gods who protect the directions: the Blue Dragon of the East, the Red Bird of the South, the White Tiger of the West, and the Black Turtle of the North. Black turtles are depicted as hairy snakes. In this water drop, a metal snake is depicted crawling on a turtle shell decorated with cloisonne.
玄武岩烏龜形狀的水滴。在中國，有四位守護方位的神：東方的青龍、南方的朱雀、西方的白虎和北方的玄武。這滴水錶現出一條金屬蛇在景泰藍龜殼上爬行的現象。
↩︎ - 水滴は硯に注ぐ水を入れる容器です。の背中に蛇が乗る姿は、蛇と亀が組み合わさった霊獣・玄武を思わせます。亀は碗のようなものを銜えていますが、同様の水滴が中国・明代の百科全書『三才図会』に収載されており、中国に起源のある由緒ある形式であることがわかります。
水滴是盛裝倒入硯台的水的容器。蛇騎在其背上的圖像令人聯想到玄武，一種蛇與龜結合的神秘野獸。烏龜的嘴裡叼著一個類似碗的東西，明朝中國百科全書《三才圖繪》中也收錄了類似的水滴器，顯示這是一種源自中國的古老形式。
↩︎ - 玄天上帝配玄武，前方侍立着关羽、赵公明（黑衣）、马灵耀（火焰环绕）和温元帅（青面獠牙）等四大元帅。描写细致，色彩华丽，堪称道教绘画中的精品。据说曾被狩野探幽和德川吉宗收藏，后流传到幕府的灵云寺。
↩︎ - とぐろを巻いた蛇の体に老人の顔をもつ宇賀神を、頭上にいただく弁才天です。宇賀神は宇迦之魂神として『古事記』にも登場する食物や福徳の神で、鎌倉時代になると同じく福徳の神である弁才天と結びつくようになります。本像は宇賀神が制作当時のまま残る最古の作例です。
宇贺神身如盘蛇，面如老人，被安在辩才天的头顶上。《古事记》称宇贺神为宇迦之御魂神，是“食神”和“福神”，到了镰仓时代，宇贺神开始与同为福神的辩才天联系在了起。展品为现存最古老的辩才天像。
↩︎ - 京都・清水寺の歴史を描く絵巻です。兼慶という清水寺のお坊さんが長野を旅していた頃、松の木の下で寝ていると突如大蛇に巻き付かれます。兼慶はこの災難が去ったら清水寺の門に仁王像を安置すると誓ったところ、蛇は去ったというもの。角のある蛇はまるで龍のようです。
這是一幅描繪京都清水寺歷史的畫卷。有一天，清水寺的僧侶兼吉在長野旅行時，在一棵松樹下睡覺時突然被一條巨蛇纏住。金吉發誓，一旦災難過去，就將仁王的雕像放置在清水寺門口，蛇就會離開。角蛇的外形看起來就像一條龍。
↩︎ - 荒れ狂う波と渦巻く雲畑から現れた大蛇は、日本神話に登場する八つの頭と尾を持つ八岐大蛇です。毎年一人ずつ娘を食らう大蛇は、稲田姫を呑もうとしますが、素鳴尊がこれを酒に酔わせて切り裂き、退治するという伝説です。大蛇はいわゆる龍のような姿で表されています。
從波濤洶湧的波濤和翻騰的雲層中出現的巨蛇，就是日本神話中的八岐大蛇——八頭八尾。根據傳說，這條巨蛇每年都會吃掉一名年輕女子，它試圖吞下稻田公主，但砂命給它灌了酒，並將其砍成碎片，打敗了它。這條巨蛇被描繪成具有龍一樣的外觀。
↩︎ - 空中に浮かぶのは印を結び大蛇に乗る大盗賊の袴垂保輔。その下では酒呑童子の子とされる鬼童丸が怪鳥をばたかせます。怪しさ漂う両者の妖術くらべは、曲亭馬琴の読本『四天王盗異録』に基づきますが、原作では鬼童丸が大蛇を操ります。
空中漂浮著大盜博姆泰介，做出手勢，騎著巨蛇。在其下方，據說是酒吞童子軍之子鬼童丸正在扇動一隻怪鳥。兩位魔術師之間神秘的較量是根據極帝馬琴的讀物《四天王吐伊錄》改編的，但在原著中，鬼童丸控制著一條巨蛇。
↩︎ - 『水滸伝』は中国・明時代の通俗小説。日本では18世紀に普及し、19世紀前半には葛飾北斎や歌川国芳の浮世絵を通じ『水滸伝』ブームが訪れました。道術をみせる公孫勝と、毒蛇と戦う丁得孫。いずれも画面いっぱいにうねる蛇体が、英雄たちの迫力を引き立たせています。
《水滸傳》是中國明朝一部流行小說。該遊戲於 18 世紀在日本開始流行，並於 19 世紀上半葉透過葛飾北齋和歌川國芳的浮世繪引發了「水滸傳」熱潮。公孫勝展示道術，丁德福孫與毒蛇搏鬥。每幅畫中，蜿蜒的蛇身充滿整個畫面，凸顯英雄的力量。 ↩︎
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