Catalog (262)

Two cuddly rabbits vie for our attention, a beautifully sculpted wood carving signed Yamaguchi Toshio from Hita Takayama in Gifu prefecture dating from the first half of the 20th century. It is 29 x 15 x 17 cm (11-1/2 x 6 x 7 inches) and is in excellent condition.

Mother of pearl inlay forms a continental scene of sages wandering among pavilions before steep mountains on this writing box by Tei-shitsu Gigei-in (Imperial Artist) Suwa Sozan I complete with artist made celadon ink grinding stone, water dropper, brushes and a paper knife enclosed in the original signed wooden box. Inside the lid mandarin ducks swap glances under a blossoming plum tree, while cranes soar among clouds below. It is signed in red lacquer beneath. The piece is 23.5 x 27 x 5 cm (9-1/4 x 11 x 2 inches) and is in excellent condition, wrapped in the original padded silk cloth.
Suwa Sozan I (1852-1922) was born in Kutani country, present day Ishikawa prefecture, where he initially studied before moving to Tokyo in 1875. Over the next 25 years he would gravitate between Tokyo and Kanazawa, working at various kilns and research facilities. He again relocated, this time to Kyoto in 1900 to manage the Kinkozan Studio before establishing his own. His name became synonymous with celadon and refined porcelain and was one of only five potters to be named Teishitsu Gigei-in. The Teishitsu Gigei-in were members of the Imperial Art Academy, Perhaps in modern terms one might call them the predecessors to the Living National Treasures. However unlike the LNT, there were only five Pottery artists ever named Teishitsu Gigei-in, Ito Tozan, Suwa Sozan, Itaya Hazan, Miyagawa Kozan, and Seifu Yohei III. He was succeeded by his adopted daughter upon his death. He is held in the Kyoto National Museum among many others.

A han-forged iron 5 point candlestand dating from Edo period Japan set onto an iron base. It is 39 x 10.5 x 39.5 cm (15 x 4 x 15-1/2 inches) and is in excellent condition.

Silver inlay decorates the frets engraved into this lemon-peel textured bronze vase by Takano Shizan signed on the base in a rectangular cartouche. It is 25 cm (10 inches) diameter, 22 cm (9 inches) tall and in excellent condition.

Silver spots the wings and gold dots the eyes of this superb set of 3 bronze birds set onto a bronze stand in the shape of fallen roof tiles signed Isso enclosed in the original wooden box dated Taisho 4 (1915). Assembled the set is 34.5 x 17.5 x 20 cm (13-1/2 x 7 x 8 inches) and is in excellent condition.

Iron and blue decorate this playful sake pot in the shape of Hotei with his heavy bag from the kilns of Kyushu dating from the later 19th to early 20th centuries. It is 18 x 12 x 13 cm (roughly 5 x 7 x 5 inches) and is in excellent condition.

A Shodai-yaki plate from early in the production of that ware, some several hundred years old now. It comes with a label and old monochrome photograph of the piece both stamped with the Kumamoto Museum (Hakubutsugkan) stamp. The plate is a kiln flaw, with a split in the rim in two places which ocured during the firing process, The plate is 27 cm (10-3/4 inches) diameter and is in overall fine condition, enclosed in a red ^-lacquered old Edo period wooden box.
Shodai ware is a type of pottery begun approximately 400 years ago in Kumamoto Prefecture named after the kilns that were built at the foot of Mount Shodai, and it is considered one of the region's representative ceramics. Technically and stylistically, Shodai ware draws influence from the Korean Peninsula, featuring a rustic and robust style created using clay rich in iron. Legend states the craft began when the Hosokawa family took control of Higo Province they brought Mekoji Genshichi and Katsuragi Hachizaemon, from Buzen and Agano ware to establish kilns at the foot of Mount Shodai. Around the same time, Takada ware was also created by others, who relocated from Buzen and Agano to Yatsushiro. The use of straw ash glaze as the fundamental glaze has remained largely unchanged to the present day. In the Edo period, most Shodai ware, with few exceptions, was consumed within the Higo domain and did not spread to other regions. The remains of the kiln sites used during that time, such as the Bin'yaki Kiln and the Segami Kiln, can still be seen in Nankan Town today.Currently, there are 11 kiln families in Kumamoto Prefecture.

A school of fish crowd the black surface of this spectacular box by Goda Minoru enclosed in the original signed wooden box titled Nagare no Naka ni (Amid the Current). The rim is finished with powdered silver, and the interior is black flecked with silver flake Nashiji. It is 27.5 x 21.2 x 5 cm (11 x 8-1/2 x 2 inches) and is in excellent condition.
Goda Minoru (1933-1983) was born in Toyama, and trained under his father as well as Yamazaki Ritsuzan. He consistently exhibited with the Nitten National Exhibition (First time in 1969). He also won prizes at the Japan Contemporary Arts and Crafts Exhibition and the Japan New Crafts Exhibition. This piece dates from the last years of his short life when he was at his peak.

A pair of wriggling catfish slip past each other as they form this signed bronze sculpture by Kawai Toshihisa mounted on a stone base. They are together 22.5 x 12 x 15.5 cm (9 x 5 x 6 inches) and are in excellent condition.
Kawai Toshihisa was born in Chiba prefecture in 1935, and while still at university, his work was selected for display at the VOL exhibition held at the Kyoto City Museum of Art in 1962. He graduated the Kyoto Municipal University of Art and held his first Solo exhibition the following

A bucolic landscape in blue spread across the various pieces of this boxed Sencha Tea Set from the Koransha studio decorated by the scholar artist Tanaka Hakuin enclosed in a compartmentalized and signed wooden box. The teapot is 13.5 x 9.5 x 8.5 cm. each cup 8 cm diameter, 5 cm tall, the Yuzamashi 14 x 8.5 x 5.5 cm and all is in excellent condition. Insect damage to the box has been repaired post photography.
Tanaka Hakuin (birth name Nakagawa Keizaburo, 1866-1934) was born in Suruga, Shizuoka prefecture in the last years of the Edo period and became a student of Tanomura Chokunyu in Kyoto, the cultural heartland of Japan, at the age of 17. This was a tumultuous period as Western ideas and Technology were flooding into Japan. He was the top pupil of Chokunyu, working in the style of both Chikuden and his mentor. At this time he used the name Tanomura Hakuin. In 1900 he married and moved to Hofu city in Yamaguchi prefecture taking his wifes family name Tanaka as his surname, and thereafter was known as Tanaka Hakuin. He established a school for painting where he worked for his remaining years. Work by him is held in the Mori Art Museum and Honolulu.

A Phoenix in Blue and White with highlights in red by Miyagawa (Makuzu) Kozan decorated overall in Sometsuke Blue and White with highlights of green and red signed on the underside Makuzu. It is 11.5 x 9.5 x 10.5 cm (roughly 4-1/2 x 4 x 4 inches) and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A playful Shishi Okimono by Miyagwa (Makuzu ) Kozan in celadon green with a raised seal reading Makuzu on the belly. It is 8.5 x 13.5 x 10 cm (3-1/2 x 5-1/2 x 4 inches) and is in excellent condition.
The name Kozan was granted by Prince Yasui-no-Miya in 1851 in honor of the tea ware produced during the later Edo for the imperial Court by the tenth-generation head of the Kyoto pottery family Miyagawa Chozo. The Kozan (Makuzu) kiln as we know it today was established in Yokohama in 1871 by the 11th generation head of the family where he reinvented the family business. He immediately set out on a journey which would propel the Kozan name to International Celebrity status, and send his wares throughout the globe. Pieces produced there were marked Kozan, or Makuzu, the official kiln name, or both. Although he had been running the daily operation since the late 19th century, the first son, Hanzan, succeeded as head of the kiln, in 1912, with the father officially retiring to spend more time on his own research and art. Kozan I dies in 1916. The kiln was run by Hanzan (1859-1940) through the early Showa era, he officially taking the name Kozan II in 1917, after one-year mourning for his father’s passing. Under Hanzan the kiln was commissioned for works to be presented to the Prince of Wales, the 25th wedding anniversary gift for the Taisho emperor and the Showa Emperors coronation gift. The unlucky third generation inherited the kiln at the height of the war years, it was completely destroyed in the bombing of Yokohama in 1945. For more on this illustrious family see Bridging East and West, Japanese Ceramics from the Kozan Studio by Kathleen Emerson-Dell.

A serene bronze figurine of a scholarly figure pondering the distance signed Koichi and dating from the early half of the 20th century. It is 40 cm (16 inches) tall and in excellent condition.
Li Bai (also known as Li Po among other names) was a Chinese poet acclaimed as one of the greatest and most important of the Tang Dynasty if not in Chinese history as a whole. He is believed to have been born in central Asia and grew up in Sichuan Province. The circumstances of his life were turbulent. He was a great swordsman and reportedly killed several men in chivalrous combat in his youthful days. He left home in 725 to wander through the Yangtze River Valley and write poetry. Over the years he would marry four times. In 742 he was appointed to the Hanlin Academy by Emperor Xuanzong, though he was eventually expelled from court. He then served the Prince of Yun, who led a revolt after the An Lushan Rebellion of 755. Li Bai was arrested for treason; after he was pardoned, he again wandered the Yangtze Valley. He was friends with the poet Du Fu. His work influenced a number of 20th-century poets, including Ezra Pound and James Wright.

A Fabulous Bronze Serving Vessel with Rams-head handle lined with silver by Living National Treasure Katori Masahiko enclosed in the original signed wooden box titled Hitsuji-mimi Hissen. It is 19.5 x 14 x 7.5 cm (8 x 5-1/2 x 3 inches) and in overall excellent condition, signed on the base Masahiko.
Katori Masahiko (1899-1988) was born into the family of prominent Bronze Artist Katori Hozuma in Chiba. He was internationally awarded at the Paris Exposition in 1925, the year he graduated The Tokyo University of Fine Arts (a student of Tsuda Shinobu). Heavily involved with the Teiten/Nitten National Art Exhibition, following the destruction of the Second World War, he would spend years working to save Japanese Buddhist Treasures, and making Bells for Temples an

A fabulously sculpted Ao-Bizen Koro Incense Burner in the shape of a thatch roofed boat dating from the Edo period enclosed in a wooden box titled and annotated by the artist Mashimizu Zoroku titled Bizen Ao-yaki Funa Gata Koro. It is 24 x 8.5 x 9.5 cm (9-1/2 x 3-1/2 x 4 inches) and is in excellent condition.
Mashimizu Zoroku I ((Shimizu Tasaburo, 1822-1877) studied under his uncle Wake Kite and established his independent studio in 1843, taking the name Mashimizu Zoroku. He became independent in 1843 working along with Sen Soshitsu XI. His work was exhibited at the Vienna international exposition in 1873 and Philadelphia in 1876. Zoroku II (Jutaro,1861-1936) was born in the Gojo-zaka Pottery district of Kyoto and inherited the pottery tradition of his father, and, after his early death, continued under the guidance of his mother Chika, taking the name Zoroku in 1882. He was awarded at the Kyoto Kangyo Hakurankai Exposition. He colluded with some of the greatest artist of the day in reviving lost Japanese traditions such as Koyama Fujio and Arakawa Toyozo as well as being heavily involved in research into continental styles. He was a well regarded member of the city’s literatus, and is remembered for both his pottery and paintings in the Nanga tradition,

A large bronze vase in olivec-olored textured orange-peel finish signed Gyokuho and inscribed as having been made to celebrate the 10th year of the founding of the modern Tokyo Stock Exchange, which means the vase was cast in 1959. It is 27.5 cm (11 inches) diameter, 36.5 cm (14-1/2 inches) tall and weighs 5.5 kg (12 pounds). It is in excellent condition.

A shell-shaped bowl of raw burnt kalium clay glazed inside and about the rim with white decorated with blue crabs and surmounted by an iron glazed octopus dating from the later 19th to early 20th centuries. It is 12.5 x 15 x 8 cm (5 x 6 x 3-1/2 inches) and is in overall excellent condition.

The weeping branches of a gold willow cascade over this mirror black Tea Caddy lined with powdered silver by Suzutani Tetsugoro enclosed in the original signed wooden box titled Natsume-Me-yanagi (Tea Caddy, Willow in Spring Folliage). It is 7 cm (just less than 3 inches) diameter, 7.5 cm (3 inches) tall and in excellent condition, wrapped in the original artist signed and stamped silk cloth.

Two long eared Rabbits, one rising up on the back of the other, together form an adorable incense burner dating from the later 19th to early 20th centuries. Together they are roughly 22 x 14 x 16.5 cm (9 x 5-1/2 x 6-1/2 inches) and are in overall excellent condition, with some wear on the patina revealing the bright yellow bronze where they rest on the table evidencing age.

A ceramic container sculpted with Buddhist figures by Saito Kairaku enclosed in the original signed wooden box titled Ao-Kochi Koro (Blue Kochin Style Incense Burner). Kochi pottery is made in the style of Kochin ware from China, in this case Ao refers to the green visible under the gold. The entire piece has been glazed in green, which is in turn covered in gold. It is 10 x 10 x 13 cm (4 x 4 x 5 inches) and in excellent condition.
Sagano ware is one of the types of pottery that originated from a kiln located in front of Daikaku-ji Temple in Sagano led by the potter Saito Kairaku from the Meiji to Taisho periods. Kairaku was born at the end of the Edo period and worked as an assistant to Eiraku Wazen. After Wazen's death, Kairaku became independent. Mitsui Takanao, who was the most enthusiastic about pottery among the Mitsui family—a clan of tea ceremony enthusiasts during the Meiji era—collaborated with and received guidance from Kairaku for the kiln at his residence, as recorded in the Mitsui family archives. Though now forgotten, Kairaku was highly regarded in Kyoto as a skilled potter, and he is said to have received many orders from temples and shrines.

A woven work of bamboo art by Suemura Shobun enclosed in the original signed wooden box. The main framework is created from a single sheath of bamboo. The nodes creating both ends of the basket have been cut down the middle and split into canes separated only by a cross weave which spreads the single cane open to form the basin. It is signed beneath, and retains the original bamboo insert. The basket is 25 x 44 x 12.5 cm (10 x 17-1/2 x 5 inches) and is in excellent condition.
Suemura Shōbun (1917-2000) was born in Osaka in 1917 and studied under Yamamoto Chikuryusai I from the age of 19. He established his own studio in 1941, taking the name Shobun. He was accepted into the Nitten National Exhibition from 1951 where he exhibited consistently From 1962 he was accepted into the Japanese Contemporary Art and Crafts exhibition (Nihon Gendai Kōgei Ten). He is held in the collections of the Minneapolis Institute of Art and the Asian Art Museum of San Francisco among others.

A striking black lacquered cabinet covered in maki-e vines by Living National Treasure Takano Shozan encloed in a black lacquered wooden storage box titled Takano Shozan Tsura Maki-e Hako. The top compartment is lined with silk. The hardware is all solid silver. It is 32.5 x 21.5 x 27 cm (13 x 8-1/2 x 11 inches) and is in excellent condition.
Takano Shozan (1889-1976) was born as the eldest son of an elementary school principal, and his grandfather was a Confucian scholar attached to the Hosokawa clan in Kumamoto prefecture. Interested in craftwork since childhood, he studied lacquer art at an industrial school in Kumamoto. He entered the Kyoto City School of Arts and Crafts (currently Kyoto City University of Arts), then transferred to the Tokyo School of Fine Arts (currently Tokyo University of the Arts), where he learned maki-e technique from Designated Imperial Artisan Matsuya Hakuzan. It was from Hakuzna that he received his art name Shozan upon graduating advanced studies in 1919. Later, with the support of Hosokawa Moritatsu, he moved into the Hosokawa mansion in Mejirodai and began working as the Lord's bodyguard during the day and producing artwork at night. He was first accepted into the Teiten National Exhibition in 1927, and was awarded there in 1932 and 1933. In 1955 (Showa 30), he was designated as a living national treasure in maki-e. In 1958 he helped to found the Shinsho Kogei Crafts Organization. He was awarded the order of cultural merit with purple ribbon in 1965, the Imperial Zuihosho Order of the Sacred treasure fourth rank in 1967 and third rank in 1976.

Birds populate the branches of a plum tree burgeoning with blossoms on the blue void of this baluster form porcelain vase by important 20th century artist Kawamoto Rekitei enclosed in the original signed wooden box. It is 19 cm (7-1/2 inches) diameter, 24 cm (9-1/2 inches) tall and in excellent condition.
Kawamoto Rekitei was born in Aichi prefecture, home of Seto-yaki and a long standing important production center for Japanese Sometsuke porcelains. In 1914, at the very young age of 20, he received the top prize at then National Ceramics Exhibition (Tojiki Hin Hyou Kai and later (1922) received the gold prize at the Peace Exposition. His works were featured at the Paris, San Francisco and Chicago World Expositions. He was contracted by the Japanese government in 1948 to create a vase for presentation to President Truman, and his work graces the collection of the Imperial Household. In 1972 he was named an Important Cultural Property of Aichi Prefecture (Ken Shitei Mukei Bunkazai). He was survived by his son, Kawamoto Goro, and grandson, Kawamoto Taro

White slip covers the dark clay of this striated tea bowl from the Edo period kilns of Hagi stored in a beautiful silk pouch in a period wooden box annotated with a poem by Tea Master Kawakami Soju (1777-1844). Slightly elongated, the bowl measures 12 x 10.5 x 9 cm (5 x 4 x 3-1/2 inches). There are two hairline cracks on the inside of the bowl which do not appear to go through to the outside.

A fabulous carved wood image of the fearsome Shishi Lion with glass eyes dating from the Meiji period signed Kazumoto-to (Carved by Kazumoto). It is 35.5 cm x 26 cm x 27 cm (14 x 10-1/2 x 11 inches). There are a few chips in the curly mane and tail and some cracks typical of age along the grain in the base.

A beautiful antique Shino plate in gray and white with designs of soaring birds dating from the first half of the 20th century. It is 27 cm (11 inches) square, 6 cm (2 inches) tall and in excellent condition, supported on 4 small scrolling feet.

Dragons writhe over tempestuous waves on this large Kyoto Ninsei style pottery vase dating from the 19th century wrapped in a padded silk pouch and enclosed in a period wooden box. Meticulously crafted and decorated, it is a superb example of the late Edo to Meiji period aesthetic. The vase is 23 cm (9 inches) diameter, 31.5 cm (12-1/2 inches) tall and in overall excellent condition.

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.