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Kuchisake-onna (口裂け女, 'Slit-Mouthed Woman') [1] is a malevolent figure in Japanese urban legends and folklore. Described as the malicious spirit, or onryō, of a woman, she partially covers her face with a mask or other item and carries a pair of scissors, a knife, or some other sharp object. She is most often described as a tall woman ...
Mask of Dzunukwa face (Museum of Anthropology at UBC) Dzunuḵ̓wa (pronounced "zoo-noo-kwah"), also Tsonoqua, Tsonokwa, Basket Ogress, is a figure in Kwakwakaʼwakw mythology and Nuu-chah-nulth mythology. Dzunukwa holding tináa (copper shields) outside the Burke Museum of the University of Washington, Seattle, WA
The deigan (泥眼) mask is a mask that represents the first stage of a woman's transformation into a demoness as her emotions begin to rise. The gold-painted eyes and tooth tips on the masks indicate that the women have already begun the transformation from human to onryō (怨霊, vengeful spirit) or ikiryō (生霊, disembodied spirit).
Masks used in Kyogen theater (狂言面, kyogen-men), worn less frequently than in Noh. Primary types include: Buaku (武悪) - A mask for mischievous servant characters with bulging eyes and wrinkled features; Usofuki (嘘吹き) - Used for supernatural characters, featuring puffed cheeks; Kitsune (狐) - Fox mask used for shape-shifting fox ...
Oni Mask [45] is a story where a young girl goes off to work at a ladies' house to make money for her ailing mother. She talks to a mask of her mother's face once she is done with her work to comfort herself. One day, the curious coworkers see the mask and decide to prank her by putting on an oni mask to replace the mother's mask.
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.
Women generally do not wear masks in West Africa, but in this region the most numerous and most important wood masks are produced for use by women for the Sande. Several types of masks, some in wood but many made of leather, fur, and cloth, are used in conjunction with the counterpart male initiation society, the Poro.
The Sande sowei masquerades promote and represent the images of women in specific ritual and festive contexts. The ceremonies of the Sande society are the only occasions in Africa in which women customarily wear masks. Wooden masks worn during these public ceremonies, such as funerals or the installations of chiefs, are called sowo (sing.
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