Mask (dance and theatre live)

The Japanese tradition of Noh theatre combines elements from shrine and temple festival arts, folk song and dance, Shinto rituals, and Zen Buddhism. Noh acting emerged during the fourteenth century. These three masks were carved by Nohzin Suzuki, part of a gift of Noh masks he gave to the Museum. The masks are stored in brocade bags and wooden boxes marked with the name of the mask. Inside the boxes an inscription reads ‘Suzuki Nohzin master carver of old masks’. Nohzin Suzuki is one of the craftsmen named by Japan as a ‘living national treasure’, a designation given to certain masters who preserve an ancient craft or tradition. A Noh programme traditionally included five plays alternating with comic plays known as Kyogen. Modern Noh performances use two Noh dramas with one Kyogen interlude. Noh stories usually tell a past event through stylised dance performed by the main character is disguise. The character then reveals his true identity and resolves the plot through a climactic dance. The mask is an important element of Noh plays. There are about sixty different types of masks, divided into five categories: gods, men, women, madmen and demons. This mask (1994.74) is used for the character of an old man, known as Warai-jyo. The main character wears two masks in sequence for the disguised and undisguised scenes. The actor will choose the mask he believes is most appropriate for his interpretation of the role. The mask would be worn with a luxurious and colourful costume. The characters in Kyogen plays mock everyday activities or situations. The masks worn for Kyogen exaggerate expressions to elicit laughter from the audience. This old man mask, known as Nobori-Hige, has a smiling face with exaggerated wrinkles and a straggly beard. The tradition of mask carving has continued in Japan, and modern masks are worn alongside original masks from the fourteenth century