The
Foo Dog of Asia has also been called the “Lion of Buddha” and that name is actually much more accurate, since it is a lion and not a dog at all. Known also as Fu Dogs, Fo Dogs, karashishi and shi-shi dog. they are used extensively in Asian art, sculpture, and, of course, tattoos. But the Lion of Buddha may not be Buddhist in origin.
The local Shinto religion of Japan, which predates Buddhism, also has a lion protector, with a red head, who drives away evil spirits and brings health and wealth. No matter the origin though, be it Chinese or Japanese, Buddhist or Shinto, the definitive foo dog is fundamentally protective, strong, and courageous. It is even said that when they are cubs, their mothers will throw them from cliffs, so that only the strongest survive. Many times, foo dogs occur in pairs, placed at gated entrances, for example, seated and yet always ready. The foo dog to the right is typically thought of as male, with the mouth open a bit, one front paw resting on a sphere, which is often carved as open latticework and represents both heaven and the totality of Buddhist law. On the left is the female, mouth closed, paw resting on a small cub, typically shown upside down on its back, which represents the earth. Often in tattoo imagery, the foo dog crawls menacingly, up or down an arm or leg.
With their pointed ears and their curly but subdued manes of hair, there is certainly a resemblance to dogs. More than likely, it is that resemblance which has caused the widespread convusion about these animals, also known as Chinese Lions and even Lion Dogs. But the resemblance is accidental and due to the fact that virtually all knowledge of actual lions was second hand to the Asian artists who initially created them. Their knowledge was second hand because, although dogs abound the world over, lions have never been native to the orient.
The hannya mask is just one example of the many different types of masks used by the traditional Japanese actors of Noh theater. Noh performances are very stylized representations of traditional and well known stories, developed in Japan during the 14th century. The masks are used to convey the identity and mood of the various characters, who number nearly eighty in the different tales. The hannya mask is specifically used to represent a vengeful and jealous woman. Her anger and envy have so consumed her that she has turned into a demon, but with some important traces of humanity left. The pointed horns, gleaming eyes, fang-like teeth, combined with a look of pure resentment and hate are tempered by the expression of suffering around the eyes and the artfully disarrayed strands of hair, which indicate passionate emotion thrown into disorder. The deeper and more extreme the coloring of the face, the deeper and more violent run the emotions of the character. Tattooing takes full advantage of these fanciful and engaging images, often using them in larger pieces of Japanese work or sometimes juxtaposing masks of good and evil characters. Often a Noh mask will also appear in isolation, as a work of art unto itself, not unlike the actual masks which are highly prized and very collectible.
Even to this day, in Japan, a hand gesture of two index fingers sticking up from a man’s forehead is an indication that his wife is mad at him or jealous. A more reddish color indicates strong resentment and anger and is used in such plays as Dodoji and Kurozuka, whereas a paler color would be more appropriate for Aoi-no-ue. Dodoji is the story of unrequited love between a woman and a priest of Dodoji (temple). She turns into a demonic serpent who wraps her body around the temple bell consuming it and the priest in the process.
