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These masks, which represent the jealousy, resentment, and anger of female demons, are classified as jya (蛇, snake) masks. [3] It is said that there are now more than 250 types of Noh masks, but the oldest historical record of Noh masks, Sarugaku dangi , mentions only about 14 types of masks, and the name hannya is not found among them. [4]
For example, he can place his Mona Lisa mask next to his ko-omote mask, the traditional Noh mask for a young woman, and the dialogue is apparent. (Sauer) Bidou says, "by synthesizing both traditions, I create three-dimensional ‘ personae ’ that breathe new life into these iconic faces and seek to suggest a fresher fusion of Eastern and ...
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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.
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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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.
In one Noh drama, translated as, Yamauba, Dame of the Mountain, Konparu Zenchiku states the following: Yamauba is the fairy of the mountains, which have been under her care since the world began. She decks them with snow in winter, with blossoms in spring ... She has grown very old. Wild white hair hangs down her shoulders; her face is very thin.