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Hannya masks appear in various skin tones: a white mask indicates a woman with a refined character (such as the aristocratic Lady Rokujō in Aoi no Ue), a red mask depicts a less refined character (like the spirit of peasant girl seen in Dōjōji), and the darkest red depicts true demons (revealed after appearing as women, as in Momijigari and ...
Onryō are used as subjects in various traditional Japanese performing arts such as Noh, Kabuki, and Rakugo; for example, hannya is a Noh mask representing a female onryō. [5] The Japanese people's reverence for onryō has been passed down to the present day.
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Noh masks signify the characters' gender, age, and social ranking, and by wearing masks the actors may portray youngsters, old men, female, or nonhuman (divine or demonic) characters. [23]: 13 Only the shite, the main actor, wears a mask in most plays, although the tsure may also wear a mask in some plays. [23]: 13, 260
The film was shot at the Inba Marsh in Chiba Prefecture, Japan. Onibaba was inspired by the Shin Buddhist parable of yome-odoshi-no men (嫁おどしの面, bride-scaring mask) or niku-zuki-no-men (肉付きの面, mask with flesh attached), in which a mother, disgusted by her daughter's affair with a priest, used a mask to pose as a demon and frighten the girl into believing that she was cursed.
Kanryū wears white since Watsuki felt that "between Kenshin and Aoshi, there was too much black already." Watsuki felt that since he emphasized Megumi and the Oniwabanshū, Kanryū never became the character he intended, which "was a bit of a letdown." The historical Takeda Kanryūsai is well known for being homosexual.
Français : Hannya. Tête de marionnette bunraku. Bois peint et crin de cheval. Japon, XXe siècle. Fondation Orient, Musée de l'Orient, Collection Kwok On, Lisbonne (Portugal). Inv. 2/2J2. Exposée lors de l'exposition "Enfers et fantômes d'Asie" au musée du quai Branly à Paris (France) en 2018.