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Noh masks (能面 nō-men or 面 omote) are carved from blocks of Japanese cypress (檜 "hinoki"), and painted with natural pigments on a neutral base of glue and crushed seashell. There are approximately 450 different masks mostly based on sixty types, [ 23 ] : 14 all of which have distinctive names.
The hannya (般若) is a mask used in a traditional Japanese Noh theater, representing a jealous female demon. It is characterized by two sharp bull-like horns, metallic eyes, and a leering mouth. [1] In Noh plays, the type of mask changes according to the degree of jealousy, resentment, and anger of the female characters.
The Noh masks of the Konparu school are a set of 47 noh masks formerly owned by the famous Konparu family of noh actors and playwrights, now part of the collection of the Tokyo National Museum. These masks span five centuries, from the Muromachi to the Edo period (15th to 19th century), and are designated Important Cultural Properties.
Bidou has studied the Hōshō tradition by going to the Hōshō Noh Gakudo in Tokyo, a school and theater with its own archives of antique masks, some of which are about 500 years old. After having carefully studied a particular mask, Bidou chooses an appropriate block of Japanese cypress wood (hinoki), one that has cured for about a century ...
The Chinese characters are also a Japanese (and Chinese) word for orangutan, and can also be used in Japanese to refer to someone who is particularly fond of alcohol. [1] A Noh mask called the shōjō exists (cf. §Noh); also, in Kabuki, a type of stage makeup is called the shōjō. [1]
The nō or noh mask evolved from the gigaku and bugaku and are acted entirely by men. The masks are worn throughout very long performances and are consequently very light. The nō mask is the supreme achievement of Japanese mask-making. Nō masks represent gods, men, women, madmen and devils, and each category has many sub-divisions.
Chiossone was an avid collector of Japanese art, with a wide range including nihonga, ukiyo-e, Buddhist sculptures and liturgical objects, archaeological objects, lacquerware, porcelain, Noh masks, armor and weapons, musical instruments, and clothing for men and women.
A somber tone is established early on and there is very little dancing in this play. When the mother arrives at the grave, she has a brief reunion with the ghost of her son. There are many Noh plays about parents searching for children, but this is the only one in which the parent does not find the child. [3]
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