Noh Ko-Jō

TITLE: Noh Ko-Jō
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
ETHNICITY: Japanese
DESCRIPTION: Ko-Jō Kyo-Kei (Old Man) Mask
MAKER: Takiyama Ichiemon (Iso Tanba City, Hyogo, Japan, 1940- ) and Ohoshima Jyunji (Fukuchiyama City, Kyoto, Japan, 1930- )
CATALOG ID: ASJP016
CEREMONY: Noh Drama
AGE: 2011
MAIN MATERIAL: wood
OTHER MATERIALS: paint; horse hair; acrylic string

The Noh theater evolved from a combination of Chinese Nuo opera, popular village entertainment known as Sarugaku, and courtly Bugaku dance to become a uniquely Japanese form of high culture. Noh, or Nōgaku, probably first emerged as a distinct form of theater in the 14th century.  A wide variety of plays developed over the ensuing three hundred or so years, with masked characters playing an important role in most.  The masks require the actors to communicate through posture, body movement, and vocal control, whose perfection requires years of intense training.  Although the masks prevent the actor from using facial expression, the most expertly carved masks can be made to express different emotions at different angles, so that he actor can change facial expression by the tilting his head.

This mask is known as Ko-Jō (or Ko-Jyo) and is a kind of Jō-Kei (old man mask) created by the famed carver Koushi Kiyomitsu in the late 14th century. This specimen was acquired from Inoue Corporation of Kyoto.

For more on Noh masks, see the excellent book by Michishige Udaka and Shuichi Yamagata, The Secrets of Noh Masks (Tokyo: Kodansha International , 2010).


To watch a short documentary about Japanese Nogaku (Noh drama and Kyogen plays), click above.

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Noh Ko-Omote

TITLE: Noh Ko-Omote
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
ETHNICITY: Japanese
DESCRIPTION: Ko-Omote Onna-Men Mask
CATALOG ID: ASJP023
MAKER: Unknown maker in Gunma Prefecture
CEREMONY: Noh Theater
AGE: 1950s-60s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; lacquer; silk string

The Noh theater evolved from a combination of Chinese Nuo opera, popular village entertainment known as Sarugaku, and courtly Bugaku dance to become a uniquely Japanese form of high culture. Noh, or Nōgaku, probably first emerged as a distinct form of theater in the 14th century.  A wide variety of plays developed over the ensuing three hundred or so years, with masked characters playing an important role in most.  The masks require the actors to communicate through posture, body movement, and vocal control, whose perfection requires years of intense training.  Although the masks prevent the actor from using facial expression, the most expertly carved masks can be made to express different emotions at different angles, so that he actor can change facial expression by the tilting his head.

This specific mask represents Ko-Omote, the naive young girl. Noh theater has many types of Onna-men (female masks), often with subtle variations in expression.  The Ko-Omote is probably the best known. Such roles were traditionally played by men.

For more on Noh masks, see the excellent book by Michishige Udaka and Shuichi Yamagata, The Secrets of Noh Masks (Tokyo: Kodansha International , 2010).


To watch a short documentary about Japanese Nogaku (Noh drama and Kyogen plays), click above.

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Noh Okasshiki

TITLE: Noh Okasshiki
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
ETHNICITY: Japanese
DESCRIPTION: Okasshiki mask
CATALOG ID: ASJP019
MAKER: Takiyama Ichiemon (Iso Tanba City, Hyogo, Japan, 1940- )
CEREMONY: Noh Drama
AGE: 2013
MAIN MATERIAL: wood
OTHER MATERIALS: paint; lacquer; acrylic string

The Noh theater evolved from a combination of Chinese Nuo opera, popular village entertainment known as Sarugaku, and courtly Bugaku dance to become a uniquely Japanese form of high culture. Noh, or Nōgaku, probably first emerged as a distinct form of theater in the 14th century.  A wide variety of plays developed over the ensuing three hundred or so years, with masked characters playing an important role in most.  The masks require the actors to communicate through posture, body movement, and vocal control, whose perfection requires years of intense training.  Although the masks prevent the actor from using facial expression, the most expertly carved masks can be made to express different emotions at different angles, so that he actor can change facial expression by the tilting his head.

This mask is known as Okasshiki (or simply Kasshiki) and represents a young Zen Buddhist lay monk, whose role is announcing the day’s menu in the monastery dining room. He is easily recognized by his ginkgo leaf-shaped bangs. This specimen was acquired from Inoue Corporation of Kyoto.

For more on Noh masks, see the excellent book by Michishige Udaka and Shuichi Yamagata, The Secrets of Noh Masks (Tokyo: Kodansha International , 2010).


To watch a short documentary about Japanese Nogaku (Noh drama and Kyogen plays), click above.

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Ondeko Mask

TITLE: Ondeko Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
SUBREGION: Sado Island
ETHNICITY: Japanese
DESCRIPTION: Oni-daiko (Ondeko) mask
CATALOG ID: ASJP025
MAKER: Ohoshima Jyunji (Fukuchiyama City, Kyoto, 1930- )
CEREMONY: Ondeko Dance
AGE: 2013
MAIN MATERIAL: wood
OTHER MATERIALS: paint; cashew tree lacquer; brass; gold dust; cloth; Velcro straps; horse hair

Ondeko, also known as Oni-daiko, is a demon character that performs solely on Japan’s Sado Island. The masquerader dances vigorously to the music of drums and sometimes other instruments in order to drive away evil spirits and to ensure a good harvest. It probably originates in Buddhist dances from the eight or ninth century C.E., although its precise origin is contested. The configuration of the performance varies across Sado Island.  There are five styles of Ondeko dance. In the central part of the island, Katagami drum style is popular. The demons are dance slowly, often with two lions (Shishi), suggesting a tie to China’s Tang Lion Dance.  In the southern part of the island is Maehama Ondeko, in which two demons always dance together, and a flute is added to the drums. In the north, Mamemaki style dominates.  A demon carries two swords while an old man scatters beans from a wooden box for good luck. Near the capital city of Ogi, Issoku style is most popular, and the demons jump on one foot while playing the drum.  Finally, in two villages on the southeastern tip of Sado, Hanagasa style is performed. There, the celebration involves many more participants, including a lion dance and folk singers.

This specimen was acquired from Inoue Corporation of Kyoto.

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Setsubun Oni Mask

TITLE: Setsubun Oni Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
SUBREGION: Okayama Prefecture
ETHNICITY: Japanese
DESCRIPTION: Paper maché oni mask for Mamemaki
CATALOG ID: ASJP001
MAKER: Unknown maker in Okayama Prefecture
CEREMONY: Mamemaki (Setsubun)
AGE: 2018
MAIN MATERIAL: paper maché
OTHER MATERIALS: plant fiber; dyed cotton cloth; dyed cotton rope; steel bells; cotton wadding; stitching; nylon bands; steel hardware; paint

Setsubun is the day before spring begins in the traditional Japanese calendar, now usually held February 2, 3 or 4. It is a holiday that involves purification rituals, the foremost among which is mamemaki, or bean-scattering. To celebrate, households throw fukumame (roasted soybeans) out of their front door or at a member of the family wearing an oni (demon) mask such as this one. As they do, they shout “Oni-wa soto! Fuku-wa uchi!” (“Demons out! Good fortune in!”) and slam their front door. In addition, they traditionally eat the fukumame, one for each year of their age plus an additional one for good luck. In modern times, these practices are often performed at a Shinto temple or shrine.

This mask was worn once in 2019 ritual in Okayama.

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Shishi Mask

TITLE: Shishi Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
SUBREGION: Kantō
ETHNICITY: Japanese
DESCRIPTION: Lion Dance (Shishi Mai) Mask (Gashira)
CATALOG ID: ASJP014
MAKER: Unknown maker in Gunma Prefecture
CEREMONY: Shishi Mai
AGE: 1940s
MAIN MATERIAL: wood
OTHER MATERIALS: paint; lacquer

The shishi mask represents a mythical lion that protects and purifies the region in which it dances, driving away evil spirits, famine, and disease. The shishi mai (lion dance) is performed throughout Japan on festival days, especially during the lunar new year and Buddha’s birthday. Its appearance varies in different villages, with the lion style (like this mask) predominating, but other animals, such as a deer, cow, or mythical kirin, used in certain villages. The lion is accompanied by a retinue of drummers playing the taiko drum, as it walks through the town, dancing and bestowing blessings on locals. To drive away evil spirits, the shishi bites the head of villagers, which brings good luck and health.

The lion dance originated in China and was brought to Japan by Chinese travelers around the early 16th century (Muromachi Period). As in China, the shishi can be danced by a sole performer or a group. In western Japan, the gigaku-kei style of shishi mai is performed by two or more dancers bundled into a long costume. In the Kantō and Tōhoku, the dance style is known as furyu-kei, and is performed by a single dancer, who beats a drum tied around his waist.

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Tajikarao No-mikoto Mask

TITLE: Tajikarao No-mikoto Mask
TYPE: face mask
GENERAL REGION: Asia
COUNTRY: Japan
SUBREGION: Miyazaki
ETHNICITY: Japanese
DESCRIPTION: Tajikarao No-mikoto Mask
CATALOG ID: ASJP013
MAKER: Hiroaki Kudo (Amano Iwato, Takachiho, 1961- )
CEREMONY: Kagura
AGE: 2019
MAIN MATERIAL: hinoki (Japanese cypress) wood
OTHER MATERIALS: oil-based paint

Kagura is a form of music and dance from the Shinto religion. The Kagura involves maikata, or masked dancers with elaborate costumes and wigs, and hayashikata, or musicians playing the odaiko (large drum), kodaiko (small drum), chochigane (Japanese cymbals), and yokobue (a Japanese flute).

Kagura dance is not totally abstract, but rather is designed to tell a story, usually of Shinto origin.  The performance of a dance is intended not just to celebrate a holiday or entertain an audience, but as a religious duty to pray to Shinto gods for a good harvest or fish catch, or protection from disease or natural disaster. Kagura is now commonly performed at temples and in farming villages after the rice harvest to thank the gods for their bounty.

This mask represents the Shinto god Ameno Tajikarao No-mikoto, who created Mt. Togakushi by taking the solid rock door leading to a cave where the sun goddess Amaterasu had hid herself and throwing it toward Nagano.  Amaterasu had denied the world light by hiding in a cave after her godly sibling annoyed her, and Tajikarao, the god of strenght and sport, both restored the sun to the world and created a new mountain. The dance reenacts this heroic act.

For more on Japanese Kagura, see David Petersen, An Invitation to Kagura: Hidden Gem of the Traditional Japanese Performing Arts (2007).


Click above to watch a short documentary about the Kagura ceremony of Japan.

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