Page 401 - Edo: Art in Japan, 1615–1868

210 means she rejects him. Afterward to smile but holds back from revealing
No mask: Asakura jo (old man) they all proceed to the burial mound deep emotion. The mask's cool seren-
of a man who every day for three ity, understated elegance, and dignified
Seventeenth century years placed a tree outside a woman's bearing are usually reserved for roles
Carved wood, gesso, and pigment
3
3
19.7 x 16.2 (7 Ax 6 /s) house, to no avail, and died of unre- of goddesses or heavenly beings such
quited love. Suddenly the couple
as the
divine maiden of The Feathered
Ishikawa Prefectural Museum of Art
disappears into the burial mound Robe (Hagoromo).The name of the mask
(revealing that the sad story was their is derived from its reputed originator,
211 own). After praying for the repose Zóami, a mask carver who lived dur-
No mask for the play "The Decorated Tree"
of their souls, the priest has a dream ing the age of the no actor and play-
Dated 1767 in which the man reappears and wright Zeami. This example, however,
Carved wood, gesso, and pigment declares, while performing a felici- dates to the seventeenth century. JTC
7
7
4OO 20 x 15 (7 /sx 5 /s) tous dance, the eternal happiness
Ishikawa Prefectural Museum of Art he has finally found. JTC
214
• One of the primary categories of no No mask: Hannya (female demon)
masks is that of old men (jo). In con- 212 Eighteenth century
trast to masks for female roles, which No mask: Zo onna (Zóami-style woman) Carved wood, gesso, gold,
are generally less expressive, those Seventeenth century and pigment
for male roles are characterized by a Carved wood, gesso, and pigment 25.2 x 16.2 (lox 6 /s)
3
slightly overwrought carving style 2ixi3.6(8V 4 X5 /8) Ishikawa Prefectural Art Museum
3
that exaggerates wrinkles and cheek-
Ishikawa Prefectural Museum of Art
bones to convey the burden or joys 215
of a long life or deeply felt emotions. Illustrated page 374 No mask: Hannya (female demon)
This mask is typical in its depiction
of an old man with a deeply furrowed 213 Seventeenth century
brow, sunken cheeks, beard, and long No mask: Manbi (beautiful woman) Carved wood, gesso, gold,
white hair that has been braided and and pigment
3
tied across a bald pate. Such masks Seventeenth century 21.2x16.6. (8 /8x6V 2 )
Carved wood, gesso, and pigment
are used to portray an old man, often Tokyo National Museum
posing as a boatman or woodcutter, 21.3x13.4(83/8x574) Illustrated page 374
Tokyo National Museum
who is actually the spirit of a deceased
warrior (shura). This type of mask • The smooth oval shape and high • The Hannya masks are among the
was originally designed by the carver forehead, with shaved eyebrows and most terrifying in no drama. Their evil
Fukurai (late fourteenth/early fifteenth
painted-in replacements near the grins and horns capture the vengeful
century), who was sponsored by the hairline, recall ancient court ideals feelings of a woman consumed by
Asakura family, one of the powerful of beauty and are features of most jealousy or anger over her husband's
daimyo clans of the medieval period.
The name of the mask refers to this female masks. The beautiful woman or lover's betrayal. In contrast to most
female masks, in which eyes are
(manbi) mask (cat. 213) is slightly
connection.
more elongated than the classic rendered in white with black pupils
The mask of a middle-aged man young woman (ko ornóte) mask and pierced by squarish slits, masks of
with mustache (cat. 211) was designed represents a slightly more mature, female demons have larger, round
for the protagonist of The Decorated sensuous expression. Although masks eye openings surrounded by gold. On
Tree (Nishikigi), written by the great designed for female roles do not con- a candlelit stage, the golden eyes,
no playwright Zeami (1363 -1443). In vey strong emotion, they were care- dimly reflecting the flickering light,
the play an itinerant priest meets a fully crafted so that subtle nuances must have had an eerie, supernatural
man, who carries a small tree, and could be expressed by tilting a mask effect. Hannya masks take their name
a woman. The couple explains to the up or down: raising the mask into the from the original designer, Hannyabó,
priest that, by local custom, a man light can help project a happier mood, a sculptor who lived in the city of
can declare his devotion to a woman while tilting it downward into shad- Nara during the Muromachi period
by placing a small decorated tree ows can convey a more somber, if not (1392-1573). JTC
beside the door to her house. By taking grief-stricken, expression.
the tree inside she signals agreement
The Zo onna, or "Zóami-style woman,"
to his proposal; leaving it outside
mask (cat. 212) may be seen as
representing quintessential female
beauty and is intended to represent
a woman in her thirties. She is about