大阪を代表する伝統刺青の継承者たる五代目彫重氏による、双鯉と紅葉散らしの七分袖。比較的シンプルな題材ゆえ、和彫りにおける額の重要性が一層強調されている。
主に墨と朱のみの構成にも関わらず、これだけの見応えを呈するのは額の力強さによるところが大きいのは明らかだろう。
Shichibu-sode (three-quarter sleeve) of a pair of koi carps and autumn leaves by Horishige the 5th, an inheritor of traditional irezumi based in Osaka. The relative simplicity of the subject further emphasizes the importance of gaku (background) in Japanese tattooing.
The fact that this work is so impressive despite being composed mainly only black and vermilion ink is clearly due to the power of dynamic gaku.
鯉と紅葉は刺青に限らず、絵画や装身具などでも揃いの絵柄として描かれることが多い。これは水温の下がる秋に鯉の色艶が一段と良くなるため、水面に映る、もしくは舞い散った紅葉との組み合わせが古くから人の目を楽しませてきたためだと推察できる。
唐獅子と牡丹のように定まった伝承がある訳ではないので必ずしも鯉と紅葉を合わせる必要はないが、この組み合わせが四季の彩りを愛でる日本人の美意識にしっくりとくるのは間違いない。
Koi carp and autumn leaves are often depicted as matching designs not only in irezumi but also in paintings and kimono. It is because the color and luster of carp become even better in autumn when the water temperature drops, and the combination with the autumn leaves reflected or scattered on the surface of the water has been pleasing to people’s eyes since ancient times.
There is no need to combine carp and autumn leaves, as there is no certain lore like that of karajishi and peony. But there is no doubt that it fits well with the Japanese sense of beauty that loves the color of the four seasons.
