Page 396 - JAPAN THE SHAPING OFDAIMYO CULTURE 1185-1868

320 321

320 Okina with no dramatic plot, its structure is to-
polychromed wood tally different from other No plays. Its ori-
18.1 x 15.2 (7 '/s x 6) gins predate the Muromachi period when
Edo period, i8th century No was perfected. The hinged jaws of the
Okina mask are a feature found also on
Tokyo National Museum
pre-No dance masks; the bushy eyebrows
and treatment of the eyes also distinguish
this from other No masks.
321 Okina Okina masks are relatively small and
polychromed wood triangular in shape, and their expressions
l
18.9 X 15.0 (7 /2 X 5 7/8) suggest the dignity and benevolence of the
Edo period, ryth century main role in Okina. Cat. 321, deeply carved
Eisei Bunko, Tokyo in the old style, is one of the outstanding
Important Art Object old masks in the possession of the Hoso-
kawa family. On the back is an inscription,
Expressing the joyful face of an old man, Made by Nikkd; Mitsuyoshi [kad]. MK
the Okina (literally, "old man") mask is
worn by the main character of the liturgi-
cal No piece of the same name. Okina, a
prayer for peace throughout the land, a
rich harvest, and prosperity, occupies a
special place in the N5 repertoire. Consist-
ing mostly of ritual dancing and chanting,

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