Shishin or Shijin (Japanese)
Four Guardians of the Compass
Celestial Emblems of Chinese Emperor

See Learn More Section for Credit. Modern reproductions of old Chinese images of the Four Creatures (click image for reference)
Click images to jump to specific creatures.

Tortoise (Black Warrior) = North, Winter, Black, Water
White Tiger (Kirin) = West, Fall, White, Metal
Red Bird (Phoenix) = South, Summer, Red, Fire
Dragon = East, Spring, Blue/Green, Wood
These four are not related to 12 Zodiac animals

Origin = China
Last Update = Nov. 3, 2007
Added Page on 28 Constellations or Moon Lodges

Iconography similar to Buddhism’s SHITENNO
Lit. = Four Heavenly Kings (Buddhist)
Four guardians of the four compass directions.
Associated closely with China’s Five Element Theory.

HISTORICAL NOTES
At the heart of Chinese mythology are four spiritual creatures — four celestial emblems — each guarding a direction on the compass. In China, the four date back to at least the 2nd century BC. Each creature has a corresponding season, color, element, and virtue. Further, each corresponds to a quadrant in the sky, with each quadrant containing seven seishuku, or star constellations (also called the 28 lunar mansions or lodges; for charts, see this wonderful outside site). Each of the four groups of seven is associated with one of the four celestial creatures. There was a fifth direction — the center, representing China itself — which carried its own seishuku. In Japan, the symbolism of the four creatures appears to have merged with and been supplanted by the Shitenno (Four Heavenly Kings). The latter four are the Buddhist guardians of the four directions who serve Lord Taishakuten (who represents the center), and are closely associated with China’s Theory of Five Elements. In any case, the four animals are much more prevalent in artwork in China than in Japan, although in Japan one can still find groupings of the four creatures. The four were probably introduced to Japan from China sometime in the 7th century AD, for their images are found on the tomb walls at Takamatsuzuka 高松塚 in Nara, which was built sometime in the Asuka period (600 – 710 AD). They are also found on the base of the Yakushi Triad 薬師三尊像 at Yakushi-ji Temple 薬師寺, also in Nara.

EAST – THE DRAGON
Dragon; Ryu or Ryuu or Seiryuu in Japan, Qinglong in China. A mythological animal of Chinese origin, and a member of the NAGA (Sanskrit) family of serpentine creatures who protect Buddhism. Japan’s dragon lore comes predominantly from China. Images of the reptilian dragon are found throughout Asia, and the pictorial form most widely recognized today was already prevalent in Chinese ink paintings in the Tang period (9th century). The mortal enemy of the dragon is the bird-man Karura and the Phoenix.

Dragon – Ryutakuji TempleThe dragon corresponds to the season spring, the color green/blue, the element wood, and the virtue propriety; supports and maintains the country (controls rain, symbol of the Emperor’s power). Often paired with the Phoenix, for the two represent both conflict and wedded bliss. In both China and Japan, dragon and phoenix symbolism is associated closely with the imperial family — the emperor (dragon) and the empress (phoenix).

Closeup of dragon painting on ceiling at Tenryuji Temple (see Dragon Page for full image)Represents the yang principle; often portrayed surrounded by water or clouds. In Chinese mythology, there are five types of dragon: (1) the celestial dragons who guard the abodes of the gods; (2) dragon spirits, who rule over wind and rain but can also cause flooding; (3) earth dragons, who cleanse the rivers and deepen the oceans; (4) treasure-guarding dragons; and (5) imperial dragons, those with five claws instead of the usual four.

The dragon is a mythical creature resembling a snake — reflecting its membership in the NAGA (Sanskrit) family of serpentine creatures. It is also a member of the Hachi Bushu (the eight protectors of Buddhism). Dragons are said to be shape shifters (need to provide example and source). In contrast to Western mythology, dragons are rarely depicted as malevolent. Although fearsome and powerful, they are equally considered just, benevolent, and the bringers of wealth and good fortune. Click here for much more on the Asian dragon.

Editor’s Note. Despite the dragon’s close association with water and the watery realm, in the Shishin Grouping of Four Celestial Emblems (this page), the dragon is associated with the element WOOD. The turtle (see below) is associated with the element WATER.

The Dragon’s seven seishuku are:

1. Su Boshi
2. Ami Boshi
3. Tomo Boshi
4. Soi Boshi
5. Nakago Boshi
6. Ashitare Boshi
7. Mi Boshi

SOUTH — THE SUZAKU (aka THE PHOENIX)
Red Bird, Big Bird, Suzaku, Phoenix
Jpn = Suzaku, Chn = Zhuque, Korean = Chousen

In Japan, the term “Suzaku”  is translated as “Red Bird” or “Red Chinese Phoenix.” In both Japan and China, the symbolism of the red bird seems nearly identical to or merged with that of the mythological Phoenix (Jp. = Hou-ou; Ch. = Feng-huang). At this site, I consider the Suzaku and the Phoenix to be the same magical creature, although I am not certain if this is entirely true. Scholar Derek Walters (see resources) says the Phoenix was supplanted (replaced) by the Red Bird, for the Red Bird more accurately reflected the astronomical iconography associated with the southern lunar mansions.

NOTE: Many web sites list the Phoenix, not the Red Bird, as the celestial emblem of the south.

Corresponds to summer, red, fire, and knowledge; makes small seeds grow into giant trees (need to give source). Often paired with the dragon, for the two represent both conflict and wedded bliss; dragon (emperor) and phoenix (empress). Portrayed with radiant feathers, and an enchanting song; only appears in times of good fortune. Within the ancient Imperial Palace in Japan, there was a gate known as Suzakumon 朱雀門 (Red Bird Gate). See JAANUS for a few more details on this gate.

Modern cartoon of the Ho-oo, the Japanese PhoenixSuzaku’s seven seishuku are:

* Chichiri Boshi
* Tamahome Boshi
* Nuriko Boshi
* Hotohori Boshi
* ChirikoBoshi
* Tasuki Boshi
* Mitsukake Boshi

* Learn more about the seven constellations here (this site).
* See star charts for the Red Bird at this outside link.

Red Bird, discovered in tomb near Nara in early 1970s
The Red Bird of the South (Suzaku)
Found on tomb wall at Kitora Kofun
http://www2.gol.com/users/stever/kitora.htm
Photo courtesy Research Institute for Cultural Properties, Nara
Archaeological dating places its construction to the
Asuka period (7th to early 8th centuries)

Suzaku, The Red Bird, Modern Drawing, Available Online
Suzaku, The Red Bird, Modern Drawing
Available for Online Purchase

For many more details/photos,
please visit the Phoenix Hou-ou Page.
Or see star charts for the Red Bird at this outside site.

WEST – THE WHITE TIGER
Jpn = Byakko, Chn = Baihu
Guards Buddha’s teachings and mankind; observes world with clairvoyance; corresponds to the season fall, the color white, wind, the element metal, and the virtue righteousness.

Byakko – 6th to 7th Century, Asuka Period, Japan Tomb Drawing
Byakko (White Tiger)
Takamatsu Zuka Tombs
www2.gol.com/
users/stever/asuka.htm

From Research Report of Cultural Heritage in Asuka Village Vol. 3. A primary center of power in Japan in the 6th and 7th centuries, Asuka lies about 12 miles south of Nara in the Kinki District; home to many ancient temples and tombs. Discovered early 1970s.
Says Donald Mackenzie
(see resources for details);
“The White Tiger of the West, for instance, is associated with metal. When, therefore, metal is placed in a grave, a ceremonial connection with the tiger god is effected. According to the Chinese Annals of Wu and Yueh, three days after the burial of the king, the essence of the element metal assumed the shape of a white tiger and crouched down on the top of the grave. Here the tiger is a protector – a preserver. As we have seen, white jade was used when the Tiger god of the West was worshipped; it is known as ‘tiger jade;’ a tiger was depicted on the jade symbol. To the Chinese the tiger was the king of all animals and lord of the mountains, and the tiger-jade ornament was specially reserved for commanders of armies. The male tiger was, among other things, the god of war, and in this capacity it not only assisted the armies of the emperors, but fought the demons that threatened the dead in their graves.” <end quote>

The Tiger’s seven seishuku are:

1. Tokaki Boshi
2. Tatara Boshi
3. Ekie Boshi
4. Subaru Boshi
5. Amefuri Boshi
6. Toroki Boshi
7. Kagasuki Boshi

TIGER CONFUSED WITH KIRIN
Kirin – Japanese and Chinese spelling of Ch’i-linIn Japan, the tiger is sometimes confused with the mythological Chinese Ch’i-lin (Qilin), which is rendered Kirin in Japan. Scholar Derek Walters (see resources) says the Ch’i-lin was supplanted (replaced) by the White Tiger, for the Tiger more accurately reflected the astronomical iconography associated with the western lunar mansions.

NOTE: Many web sites replace the White Tiger with the mythological Kirin in groupings of the four.

Kirin – Icon found on popular Japanese beer called KirinKIRIN IN JAPAN
The Kirin, which often appears tiger-like in artwork (see photos below), is a different creature entirely from the White Tiger. The Kirin is said to have the body of a deer, the tail of an ox, the hooves of a horse, a body covered with the scales of a fish, and a single horn. The Kirin appears only before the birth or death of a great and wise person. Said to live in paradise, the Kirin personifies all that is good, pure, and peaceful; can live to be 1,000 years old.

Below Kirin text courtesy of thefreedictionary.com
A mythical horned Chinese deer-like creature said to appear only when a sage has appeared. It is a good omen associated with serenity and prosperity. Often depicted with what looks like fire all over its body. In most drawings, its head looks like that of a Chinese dragon (see dragon above). Japanese art typically depicts the Kirin as more deer-like than its Chinese counterpart. Kirin is sometimes translated in English as “unicorn,” because it looks similar to the unicorn — the later a hoofed mythological horse-like beast with a single horn on its head. Some accounts describe it as having the body of a deer and the head of a lion. <end quote>

Below: Images of the Kirin

Kirin montage — Japanese netsuke
The date of above pieces was not given at the eBay shops.

NORTH
Tortoise / Turtle / Snake
Genbu in Japanese; in Chinese, known as Gui Xian, Kuei Hsien, or Zuan-Wu (Zheng We, Xuanwu). Genbu is always listening, and is thus portrayed as completely versed in Buddha’s teachings; corresponds to winter, cold, water, black, earth, and faith. The tortoise is a symbol of a long life and happiness. When it becomes one thousand years old, it is able to speak the language of humans. Able to foretell the future. In artwork, often shown together with the snake.

Turtle Genbu (Nagasaki, photo by Angus McIntyre) In Japan, however, the turtle has been largely supplanted by its Buddhist counterpart, known as Tamonten, the most popular and powerful of the Shitenno (the Four Buddhist Protectors of the Four Directions). Tamonten is also known as the Black Warrior and is also called Bishamonten; like the tortoise, his imagery corresponds to north, winter, black, and the element water.

Turtle entwined with snake; photo courtesy of www.rarebooksinjapan.com
Turtle Entwined with Snake
Wood, Date Unknown
Photo courtesy of
www.rarebooksinjapan.com
Says Derek Walters (see resources); “One of the Celestial Emblems, the symbol of longevity and wisdom. It is said that its shell represents the vault of the universe. A common symbol for longevity is the Tortoise and Snake, whose union was thought to have engendered the universe. The reason why tortoise symbolism has been superseded by the Black Warrior as the emblem of the North, is probably due to the fact that ‘tortoise’ is a term of abuse in China.” <end quote by Walters>

Turtle as Term of Abuse in China. In China, the term “turtle egg” is equivalent to calling someone a “bastard.” The reasoning is simple. Turtles crawl out of the ocean, dig a hole in the sand, and with their backs to the hole, they lay their eggs. The turtle then pushes the sand back over the eggs and returns to the ocean. The eggs are left to fend for themselves. Furthermore, islanders can stand behind the turtle as it lays its eggs and catch the eggs in their hands. The turtle does not even notice. The turtle fills the empty hole — never once looking back — and returns to the ocean.

Says Donald Mackenzie (see resources); “In China the tortoise had divine attributes. Tortoise shell is a symbol of unchangeability, and a symbol or rank when used for court girdles. The tortoise was also used for purposes of divination. A gigantic mythical tortoise is supposed, in the Far East, to live in the depths of the ocean. It has one eye situated in the middle of its body. Once every three thousand years it rises to the surface and turns over on its back so that it may see the sun.”  <end quote Mackenzie>

A turtle’s shell (plastron) also symbolizes a suit of armor, hence the turtle is also called the Black Warrior (Xuanwu in Chinese).

Genbu’s seven seishuku are:

1. Hikistu Boshi
2. Inami Boshi
3. Uruki Boshi
4. Tomite Boshi
5. Umiyame Boshi
6. Hatsui Boshi
7. Namame Boshi

Tomb of Oe Hiromoto, with turtle/snake design
Tomb of Oe Hiromoto, with turtle/snake design
Tomb of Oe Hiromoto (in Kamakura; 1225 AD)
Oe was Yoritomo Minamoto’s celebrated counselor
during the founding of the Kamakura Shogunate.
He was a distinguished scholar credited with
conceiving and organizing the Kamakura system.
Another nearby tomb, with similar turtle/snake design,
is that of Shimazu Tadahisa, the illegitimate son of Yoritomo.

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More on Tortoise and Snake Symbolism
Below text courtesy Gabi Greve
www.amie.or.jp/daruma/Tsurukame.html

Tortoise and Snake 亀と蛇
In Chinese culture, especially under the influence of Taoism (道教) the tortoise is the symbol of heaven and earth, its shell compared to the vaulted heaven and the underside to the flat disc of the earth. The tortoise was the hero of many ancient legends. It helped the First Chinese Emperor to tame the Yellow River, so Shang-di rewarded the animal with a life span of Ten Thousand Years. Thus the tortoise became a symbol for Long Life. It also stands for immutability and steadfastness.

We often see stone grave steles on a stone tortoise or reliquaries standing on it. The tortoise is also regarded as an immortal creature. As there are no male tortoise — as the ancient believed — the female had to mate with a snake. Thus the tortoise embracing a snake became the protector symbol of the north, but since the word “tortoise” was taboo in Chinese, it was referred to as the “dark warrior” (genbu 玄武 ) and finally became Zhenwu (in Chinese Taoism), one of the four protector gods of the four directions. The symbol of Zhenwu, the Protector God of the North, as tortoise and snake (or tortoise entwined by a snake) dates back to the third century BC. For more on Taoism, see this online catalog about “Taoism and the Arts of China”.

Tsurukame 鶴亀 – Tortoise and Crane
The crane lives 1,000 years and the tortoise 10.000, says a Japanese proverb. Both animals are symbols of longevity. The connection between a tortoise and a crane also dates back to China. The crane too was a symbol of Long Life and also the symbol of the relationship of Father and Son according to the Confucian philosophy. Furthermore the crane is a symbol of wisdom. When a high-ranking Taoist priest died, it was said he was “turning into a crane.” In Japanese Buddhist art, we have a candle holder in the form of a crane standing on a tortoise (tsurukame shokudai 鶴亀燭台). This kind of temple decoration was often used by the New Sect of the Pure Land (Jodo Shinshuu 浄土真宗). Usually the crane was carrying a lotos flower with a long stem in his mouth and the flower was formed in a way to hold the candle. These types of illumination stands were produced since the Muromachi Period (1333 – 1573 AD). <end quote from Gabi Greve>

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MORE ON THE BLACK WARRIOR
The Chinese Dark Lord of the North – Xuan Wu
Below Text Courtesy of:
The Online Journal of the I Ching, Yi Jing
The Dark Lord of the North (Xuan Wu Da Di) is a deity that comes from the pre-history of shamanic times (c. 6000 BC). In relatively modern Chinese prehistory (c. 1200 BC) the Dark Lord has become the human figure of a warrior with wild, unruly black hair, dressed in the primitive clothing of  the tribal peoples of Neolithic times. He is powerful and strong deity capable of powerful punishments and redemptive deliverance. He is frequently depicted as the black tortoise who rules over the direction North in Chinese cosmology. He is called ” Xuan” for the color black and ” Wu” meaning “tortoise.

Prehistory: The Snake and the Tortoise
The Dark Lord speaks to a more ancient myth, that of the snake and the tortoise, in religious prehistory. Very ancient drawings of a black snake and tortoise together symbolize the Dark Lord. These reptilian creatures, the snake and tortoise, were probably themselves worshipped or were powerful medicine to help in overcoming one’s enemies. From Shang times onward, the flag bearing this symbol (snake and tortoise) was part of the king’s color guard. In Neolithic prehistory the tortoise — also known as the somber warrior — and snake together are the symbols or totems of a powerful shaman who fights evil against the demons of the Invisible World. According to ancient tradition, the black tortoise is yin; the snake yang. <end quote by Online Journal of the I Ching>

Turtle — the old style Chinese spellingTURTLE PROVERB
Old Chinese spelling; pronounced “kame” in Japan; means turtle. PROVERB: The rareness of meeting a Buddha is compared with the difficulty of a blind sea-turtle finding a log to float on, or a one-eyed tortoise finding a log with a spy-hole through it.” [from soothill]

TURTLE IN EARLY INDIA, BUDDHST LEGENDS, JATAKA
Below text courtesy www.borobudur.tv/avadana_04.htm
The story of the Historical Buddha’s birth as a tortoise (in his past lives, before becoming the Buddha) is featured in Indian reliefs of the first gallery balustrade, where a total of five panels present the culminating scenes from a story called the Kaccapavadana. In the Hindu scriptures, the great sage Kasyapa (Sanskrit for toroise) is the father of Aditya, the Sun. The solar nature of Kasyapa is particularly appropriate representation for a past life of the Sakyamuni, who was sometimes called the “Kinsman of the Sun” (Adityabandu).