Catalog (200)

A Noh mask representing a young angel, goddess or enlightened woman called Zouonna of carved wood covered with Gofun and mineral pigments, 20th century. It is 21 x 13.5 cm and in overall fine condition bearing the carvers seal in the back.
A cool reserve seen in the passive expression, flat cheeks, unsmiling lips, and intelligent high forehead lends this mask a stately dignity that contrasts with the open expression of koomote and other standard young women's masks. The downcast eyes, narrow features, and horizontal brush strokes heighten the effect of other worldliness. The hairlines are drawn in the same style as wakaonna, but the lips have a darker hue. Zouonna is used for celestial women, such as the angel in Hagoromo (Feather Robe), the mother goddess of the West in Seioubo and the sun goddess Amaterasu in Ema (The Votive Tablets). At times the severity of Zouonna's expression is deemed fit for roles of women who are really disguised demons, such as in Momijigari (Maple Viewing).

Literally Barely Twenty the Hatachi Amari Noh mask represents the resentful ghost of the young fisherman in Fujito who has been murdered by the general to whom he disclosed a secret water passage. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 15 cm and in overall fine condition.
The name derives from a passage in the play and the mask, like Kawazu, was created specifically for the role. Like Kawazu and Yaseotoko, the gaunt face has protruding bones, straggly wisps of hair over the forehead and downward looking eyes, and no lower teeth, giving a sense of passivity and inner torment. Unlike the other two masks, however, Hatachi Amari shows a more human aspect in the curve of his lips, the clarity of the facial hairs (moustache and eyebrows) and, most importantly, the absence of metal in the eyes.

A Noh mask representing the God of Thunder, the God of Heaven, protector of Buddhism, or a ghost known as Ootobide (also Otobide or just Tobide). Carved wood with mineral pigments and gold, it is 21.2 x 16.2 cm and in fine condition, dating from the 20th century.
As befits its august character, the Ootobide is unusually large for a Noh mask and painted in gold. The mask has protruding, metallic gold, circular eyeballs with crossed eyes which create an illusion that the eyes are rolling around. Crescent-shaped eyebrows are painted in black. A prominent, flattened nose, and big ears further emphasize the mask's imposing character. The mask's mouth gapes wide to show both the upper and lower teeth and the tip of a long, wide, red tongue. Apparently, ootobide was made for the play Raiden in which the ghost of an angry official returns as the God of Thunder and burns down the imperial palace.

A Noh mask representing either the deified spirit of the Sugawara no Michizane and or a god linked to agricultural rituals. Carved wood with mineral pigments and gold, it is 22 x 16 cm and in fine condition, dating from the 20th century.
The mask's unassuming nose, thin-lipped, open mouth exposing upper and lower teeth, and fleshy cheeks are simple and human-like. However, the reddish coloring, the hair around the lips, the eyebrows that sweep upward, and the gold metal eyes that peer downward give the mask an air of heightened emotions and movement. Used to portray Michizane in the plays such as Raiden and is also connected to agricultural rites and is used to portray heavenly gods.

A Noh mask representing a young woman with gracefully curved mouth forming a slight smile and eyebrows placed high on a broad forehead reminiscent of koomote named Magojirou. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition bearing the carvers seal in the back.
The longish face, somewhat lean cheeks and simple shape of the eyes with heavy lids give the mask an open, yet sad expression, which at times takes on a delicate, dream-like beauty. The black hair parted at the middle has two painted strands at the front, with two more curving out from just above ear-level. Tradition has it that the model for this mask type, now in the Tokyo National Museum, owned by the Mitsui family, and designated an Important Cultural Property, was carved by Kongou Magojirou Ukyou Hisatsugu (1538-64) in memory of his deceased wife.

A Noh mask representing a sprite who possesses the elixir of long life. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20 x 14 cm and in overall fine condition. The mouth and eyes curl into a smile accentuated by dimples in the full cheeks. Wispy eyebrows swerve up at the outer corners and strands of hair fall down over the forehead.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A Noh mask representing a young woman with gracefully curved mouth forming a slight smile and eyebrows placed high on a broad forehead reminiscent of koomote named Magojirou. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.2 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. The longish face, somewhat lean cheeks and simple shape of the eyes with heavy lids give the mask an open, yet sad expression, which at times takes on a delicate, dream-like beauty. The black hair parted at the middle has two painted strands at the front, with two more curving out from just above ear-level. Tradition has it that the model for this mask type, now in the Tokyo National Museum, owned by the Mitsui family, and designated an Important Cultural Property, was carved by Kongou Magojirou Ukyou Hisatsugu (1538-64) in memory of his deceased wife.

Oobeshiomi, also called simply Beshimi (or Obeshimi), is a Noh mask representing a Deity or Tengu who protects others from evil spirits and demons. Carved wood covered with Gofun and gold, this dates from the 20th century. It is 22.3 x 17 cm and in overall fine condition bearing the carvers seal in the back. It appears to have been in the midst of re-working the colored covering, or had never received its final coat of color, which makes it in fact, quite unique. Oobeshimi's tense expression creates deep wrinkles on the forehead and forces both ends of the eyebrows to curl upward. Flattened nostrils enlarge the end of the nose. The mask has a rounded jaw and depth of modelling allows for ears. The eyebrows, beard, and moustache of the mask are painted in black. Vermillion outlines highlight the creases in the brown skin

A Noh mask representing a dignified old woman. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.8 cm and in overall fine condition bearing the carvers seal in the back. There are many forms of this type of mask, however, all share the wrinkled and bony features of a woman grown old gracefully. The sunken eyes look down, being carved as a slightly curved slit. The serenity of the face reflects a divine nature that has only temporarily taken on the form of an old woman, such as the spirit of the old wife-goddess in Kuzu. Uba is used generally for non-dancing roles.

A Noh mask representing a middle-aged woman torn by separation from a loved one, either man or child. Carved wood covered with Gofun and mineral pigments, 20th century. It is 20.8 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. Gentle and mature, fukai's face is filled with a melancholy that comes from experience and feeling. The features are deep-cut, with crevices along the lower cheeks and deep-set eyes with heavy eyelids and drooping corners. The well-modulated lips neither smile nor frown. The fleshy face has a protruding forehead and chin, creating a slightly concave silhouette. Fukai masks come in a spectrum of ages, the oldest being labeled yuki no fukai (snow), the next tsuki no fukai　(moon), and the yougest hana no fukai (flower).

A Noh mask representing the spirit of a fox or other terrestrial spirit with a gaping mouth which exposes a wide, red tongue and both the upper and lower teeth, draws the cheeks upward and makes the circular, metallic eyeballs jump out to create an overall fearfull expression. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21 x 14.5 cm and in overall fine condition bearing the carvers seal in the back.

The mask of an old man with a strong and frightening expression. Carved wood covered with Gofun and mineral pigments, 20th century. It is 23 x 16.5 cm and in overall fine condition bearing the carvers seal in the back. This type of mask is most often used for old gods and vengeful spirits.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A noh mask representing a blind young boy who frequents Osaka Tennoji temple begging for alms in the play Yoroboshi. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. The characters poetic spirit is expressed in his appreciation of the beauty of the plums through their smell. Long cast out from his family, he is finally reunited with his father at the end of the play. The mask has many versions, but all have closed eyelids, straggly hair over the brow and a suffering expression. somewhat reminiscent of the other blind boy mask Semimaru.

A Noh mask representing a young monk at Zen temple named Kokashiki, carved wood covered with Gofun and mineral pigments, 20th century. The mask features its bangs in the shape of Ginkgo leaf. It is 21 x 13.7 cm and in overall fine condition bearing the carvers seal in the back.
Noh theater, often referred to as Nohgaku, is a traditional Japanese performing art with a rich history dating back centuries. It is a highly stylized form of theater that combines elements of dance, music, poetry, and drama. Central to Noh performances are the intricate masks worn by the performers, known as Noh men. The origins of Noh can be traced back to ancient Japanese performing arts, particularly Kagura (ritual dance and music) and Bugaku (court dance and music). These traditional forms incorporated dance and music in religious rituals and imperial court ceremonies. Sarugaku, a precursor to Noh, emerged during the Nara (710-794) and Heian periods (794-1185). Sarugaku performances included comedic elements, acrobatics, and dance. Over time, it began to incorporate more serious and refined themes. Noh as we know it today began to take shape during the Muromachi period (1336-1573). Kan'ami Kiyotsugu and his son Zeami Motokiyo played significant roles in refining and formalizing Noh performances, codifying its structure, music, and movements.
Zeami emphasized the importance of yūgen (mysterious beauty) and monomane (imitation or mimicry) in Noh, which influenced the development of Noh's distinctive aesthetic and storytelling techniques. Noh combines classical Japanese poetry (waka) with music and dance. The plays often revolve around themes of the supernatural, historical events, or literary works. During the Momoyama period the Tempo of Noh, which had been adopted by the elite, slowed significantly, to differentiate itself aesthetically from other forms of ritual dance. This is the Noh that we have today. Noh masks represent different character types, such as gods, demons, spirits, elderly characters, and more. Each mask has distinct features and expressions that help convey the character's personality and emotions. They are meticulously crafted from wood and are meant to conceal the actor's emotions, allowing them to embody various characters and personas throughout the performance.
Noh theater is designated as a UNESCO Intangible Cultural Heritage and continues to be an essential part of Japan's cultural heritage. It has had a significant influence on other art forms, including traditional Japanese arts like Kabuki and Bunraku, as well as contemporary theater and dance. It remains a cherished and deeply respected art form in Japan, captivating audiences with its elegance, symbolism, and timeless stories.

A Noh mask representing a young angel, goddess or enlightened woman called Zouonna of carved wood covered with Gofun and mineral pigments, 20th century. It is 21.3 x 13.7 cm and in overall fine condition bearing the carvers seal in the back. A cool reserve seen in the passive expression, flat cheeks, unsmiling lips, and intelligent high forehead lends this mask a stately dignity that contrasts with the open expression of koomote and other standard young women's masks. The downcast eyes, narrow features, and horizontal brush strokes heighten the effect of other worldliness. The hairlines are drawn in the same style as wakaonna, but the lips have a darker hue. Zouonna is used for celestial women, such as the angel in Hagoromo (Feather Robe), the mother goddess of the West in Seioubo and the sun goddess Amaterasu in Ema (The Votive Tablets). At times the severity of Zouonna's expression is deemed fit for roles of women who are really disguised demons, such as in Momijigari (Maple Viewing).

A Noh mask representing a young woman with gracefully curved mouth forming a slight smile and eyebrows placed high on a broad forehead reminiscent of koomote named Magojirou. Carved wood covered with Gofun and mineral pigments, 20th century. It is 21.3 x 13.5 cm and in overall fine condition bearing the carvers seal in the back. The longish face, somewhat lean cheeks and simple shape of the eyes with heavy lids give the mask an open, yet sad expression, which at times takes on a delicate, dream-like beauty. The black hair parted at the middle has two painted strands at the front, with two more curving out from just above ear-level. Tradition has it that the model for this mask type, now in the Tokyo National Museum, owned by the Mitsui family, and designated an Important Cultural Property, was carved by Kongou Magojirou Ukyou Hisatsugu (1538-64) in memory of his deceased wife

The Heita mask is said to portray a warrior of the Kamakura period (1185 - 1333) named Egara no Heita Tanenaga. It has an indomitable face with a dark suntanned complexion and upward slanting eyebrows and a mustache. The mask is worn by a warrior’s ghost, who narrates his heroic exploits of bygone days. Carved wood covered with Gofun and mineral pigments, 20th century. It is 19.8 x 14.3 cm and in overall fine condition bearing the carvers seal in the back.

A Noh mask representing a girl in the first blush of womanhood called Koomote. The full cheeks, engaging, full-lipped smile, dimpled chin, and eyes that swerve up at the sides suggest an outgoing, engaging personality. The "caterpillar" eyebrows are painted high on a full forehead and the black hair parted in the middle has three loose strands on each side. It is 21.3 x 13.5 cm, carved wood with gofun and mineral pigments, 20th century.