Quiet Rage, Gentle Wail: Prints and Masks of Japanese Noh Theater

Prints and Masks of Japanese Noh Theater I

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Prints and Masks of Japanese Noh Theater

By Dr. Joni M. Koehn

Exhibition Dates:

June 4 – November 16, 2014 Quiet Rage, Gentle Wail: Prints and Masks of Japanese Noh Theatre

Author: Dr. Joni M. Koehn Publisher: Phoenix Art Museum ISBN 10: 0-9844081-40-9844081-4-2 2

The exhibition is organized by Phoenix Art Museum.

Additional Support provided by:

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foreword    Janet Baker, Ph.D. Curator of Asian Art Phoenix Art Museum

More than most exhibitions at Phoenix Art Museum, Quiet Rage, Gentle Wail: Prints and Masks of Japanese Noh Theater  reminds  reminds us that we are an institution that

draws upon our community to achieve what we do. Nearly every aspect of this exhibition represents individual and team effort effortss that has brought together a wonderful collaboration at a fortuitous moment in time. In 2009, Phoenix Art Museum celebrated its 50th Anniversary. Curators were given a collective mission by the Director and the Board of Trustees to seek “Fifty significant gifts to the collection in honor of the Fiftieth Anniversary.” Anniversary.” In Asian art, fifteen donors gave over two hundred thirty objects. Among those fifteen donors, there was one that touched my heart the most. It was the gift of twenty-four individual prints and a complete album of fifty-two prints focused on the subject of Japanese Noh Theater. This marvelous gift added a new dimension to the Asian collection that was previously unrepresented. But, most importantly, it was given by Gene Koeneman and Sherri Beadles, who are not only members of our local community of collectors and Asian art aficionados, but Gene Koeneman is a long-standing member of the Museum staff as Chief Preparator. Their extraordinary generosity and dedication to this Museum inspired a second gift in 2010, that of twenty-two Noh masks and additional Noh prints, gifted by the late Roger Dunn. At that moment, moment , I knew that a wonderful future exhibition had been created. At the same time, Phoenix Art Museum was invited to participate with Arizona State University in the application process for a grant from the Japan Foundation; an agency of the Foreign Ministry of Japan that is highly competitive for its coveted grants to universities, museums and other cultural organizations in the US and twenty other nations. Arduous planning and paperwork led finally to a letter confirming our prestigious three-year award. 4

I am grateful to Momoko Welch, my former Curatorial Assistant at Phoenix Art Museum; Patricia Way, student intern from Whitman College in summer of 2010; Dr. Claudia Brown, Professor of Art History at ASU; Dr. Anthony Chambers, Professor of Languages & Literatures at ASU; Jean Makin, Print Collection Manager/Curator at ASU Art Museum; Peter Held, Director of the Center for Ceramics Research, ASU; Dr. Sybil Thornton Thornton,, Associate Professor of Pre-modern Japanese History at ASU; and Dr. Stephen MacKinnon, MacKinnon , President of the Asian Arts Council of Phoenix Art Museum and all of its Board Members; among many others, for their insights and collaboration in the Japan Foundation Grant project. At Phoenix Art Museum, the funds permitted us to present a symposium on Japanese prints, several rotations of prints in the Asian Gallery, several lectures, and the entire expenses for this special exhibition; its research, object photography, installation installati on and online catalogue. The research and content of the exhibition didactics and the online catalogue have been provided to us by another member of our local community, Dr. Joni M. Koehn, as Guest Curator. Dr. Koehn received her Ph.D. from the University of Hawai’i at Manoa in 2000 with a dissertation on the topic: Reflections of the DemonWoman: Crafting Images of Women in the Noh Plays Kanawa and and Aoi no Ue. She holds B.A. B. A. degrees in Theater and Japanese language. Currently she teaches Japanese Japanes e at Rio Salado College and is also the Theater Director at Campo Verde High School. How fortunate we are to have such specialized expertise in our midst! As always, the leadership and expertise of Phoenix Art Museum staff is crucial in the process of bringing an idea to realization as an exhibition. I wish to thank our Director, James K. Ballinger, for allowing his curators to be visionaries in implementing their ideas. With every exhibition, it is the behind-the-

scenes work of the Registrar’s Office; including Leesha Alston, Laura Wenzel, Rachel Sadvary and Kari Walters; our Exhibition Designer, David Restad, and the Preparator’s Staff; including Gene Koeneman, Bob Gates, Zach Glover and Henry Bellavia; that makes everything come together seamlessly. Ana Cox, Visual Resources Coordinator, worked with Phoenix photographers Ken Howie on the Noh masks and Mike Lundgren on the Noh prints to assure us the best possible digital images of these extraordinary works of art. Carlotta Soares, Director of Marketing; and Stephanie Lieb, Public Relations Manager; worked tirelessly to make certain that our community heard the word about this wonderful exhibition. In addition, I would like to acknowledge the fine editorial skills of long-time Museum supporter and community member Anne Gully. Finally, we will enjoy the excitement of the Theatre Nogaku, when two members of this Seattle troupe, David Crandall and Elizabeth Dowd, come to Phoenix Art Museum to share their performance expertise with our audiences.They will offer samplings from select scenes of four different Noh plays to allow viewers to create an aural and visual vocabulary to appreciate this art form as well as a behind-thescenes glimpse into the nuance and skill of Noh performance through chant, movement and even trying on a mask. Many words have been used to describe the experience of Noh theater: subtle, sophisticated, elegant, nuanced, intellectual, profound, lengthy, repetitive, hard to comprehend. We sincerely hope that through the interpretations provided by the expertise of these American Noh scholars you will be presented with a challenge that will offer offe r rich rewards!

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The Noh Pr P rint intss of Tsukiok Tsukiokaa Ko¯gyo In the mid-fourteenth century, the performer Kanami fused an amalgamation of narrative religious performance, popular shirabyōshi dances, and musical entertainments into a coherent whole. Kanami’s creativity earned him the patronage of the nobility and with his son, the gifted Zeami, established the form of theatre then called s arugaku noh. Zeami in turn earned the patronage of the shogun Yoshimitsu, providing the support to refine and expand the repertoire. Noh flourished as other troupes adopted it, performing in the country, in shrines and temples as well as in noble houses. Noh artists drew on Japan’s rich history of literary performance, creating plays based on historical tales, on Buddhist and Shinto stories, and aesthetically focused pieces that center on classic poetry and poetic sentiment. During the long years of the Tokugawa shogunate (1603-1868, the Edo period), noh performance was reserved for the nobility and the samurai class. Restricted from many changes, the performances became refined and standardized, deepening rather than expanding. Near the end of the Edo era, merchants had already begun to patronize noh performance, but the fall of the shogunate and the loss of support from the nobility threatened the survival of the art. Noh artists reached out to new audiences, with women as well as men preparing and mounting amateur productions. One student of noh was the woodblock artist, Tsukioka Yoshitoshi, but it was his stepson and student,, Tsukioka Ko¯g student ¯gyō yō (1869-1927), (18 69-1927), who began b egan focusing on noh prints after seeing a performance of Shakkyō as a teenager. He began his career as a pottery painter and continued to study s tudy painting along with woodblock printmaking. As is the custom in Japan, as he perfected his art under different masters, he was awarded different names. Yoshitoshi gave him the name Toshihisa, and after studying with the painter and printmaker Ōgata Gekkō, he was named Kōgyo. The painter Matsumoto Fūkō awarded him the name Kohan and he finally took the name 6

Tsukioka Kōgyo when he assumed direction of his stepfather’s school. During his lifetime, he produced two multi-volume series of noh prints and a single volume of 100 prints, as well as additional prints and paintings of noh theatre – over 700 prints and six dozen paintings on this subject alone. Clearly, he knew his subject well, as he attended performances of all major schools of noh. The dynamism of his prints reflects this deep knowledge k nowledge of the aesthetics and conventions of performance, capturing the color and movement of this stylized theatrical form. Kōgyo’s daughter, Gyokusei, continued her father’s work, graduating from the Women’s Specialist School of Fine Arts at 21. Like her father, she attended performances as a teenager and focused on prints of noh performances. After Kōgyo’s death in 1927, she finished a series of kyōgen prints. Kōgyo’s student Matsuno Sōfū completed the last part of his final volume of prints, the nohga taikan. Both of Kōgyo’s successors completed additional work concerning noh theatre. Gyokusei produced two additional volumes of noh prints. In addition to the series of noh prints, Matsuno Sōfū reportedly painted many of the pine tree backdrops for noh stages after World War II. The publishing house of Daikoku Heikichi produced the volumes and prints of both Kōgyo and Gyokusei. A publishing house since the mid-18th century, the family-owned concern sought to elevate its fortunes in the wake of the Meiji restoration. The Meiji-era heir to the business, taking the family name Matsuki Heikichi, commissioned talented artists, carvers, and printmakers to maintain the business in the modern era. A clever businessman, h e also produced advertising for the company, featuring an Edo-era print peddler. It was Heikichi’s interest in promoting noh that allowed so many volumes of prints to come to market, contributing to the popularization and survival of the art.

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Noh Masks for Performance At first glance, some noh masks may seem plain. Yet part of the artistry in a mask lies in understanding the play of light and how the tilt of the mask can create a wealth of expressions. This is as true of the quiet woman’s mask as it is of the wrathful demon’s mask. Subtle changes in expression can be seen when the mask is at rest if one looks at the mask from a variety of angles. These masks come alive in performance. Those who follow noh portrayals sometimes speak of being able to see a mask “breathe” in a masterful performance. The masks of noh have only a few main categories, but today there are over 200 different types in use. Most masks are not associated with a specific play but can be used for similar characters in different plays. The ko-omote mask, for example, depicts a young woman and can be worn in many diverse roles. A demon mask like hannya could be worn in any of several plays that center on the anger of a woman betrayed. Different schools may use variations of the hannya mask, with small but meaningful differences in color, features, or expression. A few specialty masks exist, used only for a single play. The okina masks – hakushijō and kokushijō – are used only in performance of Okina. The mask for Ikkaku Sennin, an Indian deity born from the womb of a doe, features a single horn on his forehead and is only used in the play of the same name. Over the long period of the development of noh, the features of masks became refined and prescribed. Small differences in masks carried significance – a slightly upturned mouth rather than horizontal, tendrils of stray hair, or the precise shape of the eyes. Master carvers established standards centuries ago, and now apprentices learn to make the mask without 8

deviating from the specified form. The art of carving consists of perfectly replicating the mask’s form. Carved from Japanese cypress ( hinoki ), ), the master makes the first cut of the block, sometimes doing the rough cut before turning it over to apprentices. Mask carvers do not use sandpaper in creating masks. The mask maker not only carves the piece but also finishes it and paints the details. The backs of masks often have marks of the mask maker or additional details such as the mask name. Mask makers work to ensure an appropriate fit on the performer in shaping the back of the mask. The cavity behind the mouth opening creates a resonator for the performer’s voice, giving it a unique sound as it is projected through the wood. The small eyes, some maintain, allow the performer to focus more fully on the role. Through these small apertures, performers sight on the pillars of the noh stage to orient themselves. In noh, the main performer (or shite) will choose the mask or masks for any given role, according to the conventions of his performance tradition, the masks his family owns, or those he can borrow, and, finally, considering his interpretation of the role. Prior to beginning the performance, the shite retires from the bustle of backstage rooms into the mirror room. He dresses with assistance, then pauses in contemplation with the mask before putting it on and assuming the character. Once the mask is in place, the performer enters the stage. The finest of performers make the strict stylization of movement and voice their own, giving expression to the mask as if it is their own face. A master can breathe startling new life into a role, inspiring those who follow this traditional art form.

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Hagoromo Hagoro mo 2010.338.A

Pair of Two-Fold Screens

A fisherman finds a length of beautiful cloth woven with feathers. He intends to take it home with him, but is confronted by a celestial maiden who claims it as her own. He offers to do return it if she will dance for him. The exchange is made and the angel dances up to the heavens. Designs of feathers appear on the robe of the costume as well as in the headdress.

Suzuki Shuho One of a pair of screens - Scene from the Noh Play "Hagaromo" in Orange Kimono, Taisho period black lacquer wood frame with green silk brocade border. Ink and color on rice paper 63 ½ x 55 ½ in. (161.3 x 141 cm) Gift of Roger Dunn 2010.338.A

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Okina 2010.338.B

Okina holds a unique place in noh as the first piece performed each year in theatres and the oldest piece in the repertoire. This screen shows the central figure framed by the pine tree painted at the back of noh n oh stages. The play is a ritual celebration and the Okina figure dances for peace and prosperity in the land. Additional prints and masks from this performance are included in this exhibit.

Suzuki Shuho One of a pair of screens - Scene from the Noh Play "Okina" Holding a Fan,Taisho period black lacquer wood frame with green silk brocade border. Ink and color on rice paper. 63 ½ x 55 ½ in. (161.3 x 141 cm) Gift of Roger Dunn 2010.338.B

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Preface to the Album

During a period of great transition in Japan, when the feudal system was abolished and the country moved into the 20th century, the existence of traditional arts once supported by the nobility and samurai classes was seriously threatened. The survival of noh depended on finding new patrons and enhancing its popularity in this new society. Daikokuya, a publishing house of woodblock prints, aided in this by commissioning works on noh theatre from artists such as Tsukioka Kōgyo. Kōgyo was a prolific artist and like the publisher Heikichi Matsuki of Daikokuya, also a patron of noh. Their collaboration resulted in a remarkable record of noh performance at the turn of the century, which played a part in the popularization and preservation of this art. The album displayed here is one of a set of five albums in Kōgyo’s Illustrations of Noh Plays series.

Table of contents, 2009.25 8

Kōgyō printed imaginative tables of contents for his three volumes of noh prints. In this, three kimono airing on a a suspended pole form the basis for his table of contents. Reading from the right, the first and smallest kimono has the title of the volume, Nōgaku zue (能楽図絵) or Illustrations of Noh Performance. On the other two kimono, Kōgyō has listed the titles of the prints in the volume.

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Album cover, 2009.258

The front of the volume of prints is silk over paper board. The label lists the title, Nōgakuzue (能楽図絵 in contemporary Japanese) or Illustrations of Noh Performance, followed by Kōgyo’s name ( 耕漁).

Album, Publisher’s page, 2009.258

The Daikokuya Publishing House advertised as having been in business since 1764, passing on the family name of Matsuki Heikichi to the head of the business. During the Meiji era, the house commissioned Kōgyo’s prints of noh performance. The left side shows the business information, address and a 4-digit phone number with English advertising to appeal to foreign visitors. The Japanese is read right. The trademark on the right side of the page was used in an 1890 advertising flyer for Daikokuya. It depicts an Edo-era print seller, carrying a box of prints on his back. The side of the box refers to Yoshiwara, the entertainment quarter of Edo, and the pictures of beautiful women he is selling. 13

Orokogata

Orokogata, The Oroko Seal. 2009.258 depicts the Regent Hōjō Tokimasa’s journey to Enoshima to worship the deity Benzaiten (Benten, (Benten , or Sarasvatī in Sanskrit) Sansk rit) who is associated with water and with serpent deities. He meets a woman there who reveals herself to be the deity. As Benzaiten, she dances for Tokimasa and bestows a three-triangle (oroko) symbol of serpent scales for him to use as the Hōjō family crest. 14

Two Pages from the Album

Tsukioka Kōgyo Orokogata, 1901-1902 album of 52 leaves, handmade woodblock prints on paper, with covers of padded silk and board Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 9 � x 14 � in. (24.1 x 36.8 cm) 2009.258

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Tsukioka Kōgyo Tanikō (Valley Rites), 1901-1902 album of 52 leaves, handmade woodblock prints on paper, with covers of padded silk and board Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 9 � x 14 � in. (24.1 x 36.8 cm) 2009.258

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Two Pages from the Album

Tanikō Tan ikō (Valley Rites) 20 09.258

This unusual noh play depicts mountain priests on a journey with a young boy who has come to pray for his mother. The boy grows ill and according to their practice the priests toss him off the side of the mountain. However, the piety of the boy’s mentor brings a god to restore the boy to life.

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Okina

The oldest noh in current performance, the Okina performance and masks predate the development of sarugaku noh, containing elements of its ritual origins. The three dance pieces that are collectively termed Okina are usually the first noh of the New Year. Senzai opens the performance, danced without mask, followed by the Okina performer in a white mask, dancing for peace and prosperity. This is followed by the vigorous Sanbasō, initially danced without a mask, then utilizing the black mask. The white masks are termed Hakushijō, (“haku” means white) while the black are called Kokushijō (“koku” means black). Distinct from other noh masks, the round face with its deep furrows, merry eyes and gap-toothed smile are typical of Okina masks. They are the only masks in noh that are jointed and have rabbit-fur tufts where eyebrows might be painted. Okina dance with attendants and mask boxes 2009.283, shows the second of these three dances, with assembled musicians and attendants who have carried in boxes holding the masks, which are near-sacred objects.

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Tsukioka Kōgyo Okina, from the series One Hundred Noh Plays 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.283

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Kamisaka Sekka Scene from Okina woodblock print Gift of Roger Dunn 2010.212

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Okina performer dancing, 2010.212 gives a closer look at the Okina figure, with his jolly mask and festive attire based on traditional court costume. Hakushijō, white Okina mask. 2010.329. This mask represents the god of peace and tranquility, worn in the second, more sedate section of the Okina performance. On the mask, the rabbit fur tufts tuft s have worn away, although the plugs are still evident. The  joint cords at the corners of the mouth mouth show the age of the mask. The beard is typical of this mask. Sanbasō segment of the Okina performance, 2009.259 shows the third and final segment of Okina, as the Sanbasō figure dances first without a mask, then with the asymetrical black Okina mask 2010.328 or the later black Okina mask, 2010.326. At the end of the dance, he is given a bell tree, dancing to dispel evil spirits.

Top: Tsukioka Kōgyo Scene from Okina (Sanbasō sec tion), from the series Pictures of Noh Plays, 1899 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.259

Left: Unknown, Japan Noh mask, Hakushijō, Taisho period, 1912-1926 painted wood Gift of Roger Dunn 7 � x 6 in. (19.7 x 15.2 cm) 210.329

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Kokushijō, black Okina mask. 2010.326, 2010.328. The black mask, used for the final part of the Okina performance, may represent fertile earth, as the mask represents the god of the harvest. Mask 2010.326 has atypical tufts of rabbit hair whereas most masks like this have implanted horsehair eyebrows. The older mask, 2010.328, features the asymmetry of other older masks, along with exaggerated beard and mustache.

Unknown, Japan Noh mask, Kokushijō, Taisho period, 1912-1926 painted wood Gift of Roger Dunn 7 � x 6 3 ⁄ 8 in. (19.7 x 15.6 cm) 2010.326

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Unknown, Japan Noh mask, Kokushijō, late Edo period, 1789-1868 painted wood Gift of Roger Dunn 7 3 ⁄ 8 x 5 7 ⁄ 8 in. (18.7 x 14.9 cm) 2010.328

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Seiōbo (Queen Mother of the West) 2009.262

A festive play that celebrates the Emperor’s reign, as a woman presents him with a peach seed from a tree that blooms once in three thousand years. The woman reveals herself to be the Queen Mother of West, an immortal being, radiant and dancing in celebration. Gyokusei, the daughter of Kōgyo, created this print. 24

Above: Tsukioka Gyokusei Seiōbo (Queen Mother of the West), 1897-1975 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.262

Eboshi Ori, The Left-Folded Cap 2009.274

The young Yoshitsune, called Ushiwakamaru, has escaped and asks a hatmaker to create a left-folded cap for his disguise. He pays for the cap with his sword, but the hatmaker’s wife recognizes it and realizing this is the young lord, returns the sword to him. Ushiwaka soon uses it to vanquish the terrible bandit Kumasaka (pictured here). This is based on legends of the Genji-Heike war.

Above: Tsukioka Kōgyo Scene from Eboshi Ori, The Left-Folded Cap, from the series One Hundred N oh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.274

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Funabenkei (Benkei in the Boat) 2009.281

The play tellsof the doomed flight of the Ge nji warrior Yoshitsune and his retainer, Benkei. The beautiful Lady Shizuka bids them farewell with a dance before they cross the sea. In a stormy sea, they face the ghost of the warrior Tomomori, who threatens the boat, brandishing his halberd. However, the prayers of the loyal Benkei vanquish the spirit. The warrior Tomomori would wear a mask similar to 2010. 320. Suji Ayakashi. 2010.320. A mask of the ryō no otoko type, the gold eyes and protruding veins on the forehead express the supernatural nature of the character. The mask would be used for a defeated warrior like Tomomori in Funabenkei, 2009.281 26

Above left: Tsukioka Kōgyo Scene from Funabenkei (Benkei in the Boat), from the series One Hundred N oh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.281

Above right: Unknown, Japan Noh mask, Suji Ayakashi (Ryō no otoko), late Edo period, 1789-1868 painted wood Gift of Roger Dunn 8 x 5¾ in. (20.3 x 14.6 cm) 2010.320

Ataka 2009.270

Following the story of Funabenkei, this play recounts the flight of Yoshitsune (portrayed by a child actor) with his loyal retainer Benkei. Yoshitsune is disguised as a porter and his retainers as mountain priests in order to pass through a checkpoint barrier. Benkei’s bravery and loyalty convince the commander of the barrier to allow them to pass.

Tsukioka Kōgyo Scene from Ataka, from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.270

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Ohara Gokō (The Imperial Jour ney to Ohara) 2009.275

A former Emperor, now a Buddhist monk, travels to a retreat at Ohara to visit the dowager Empress Kenrei. After her young son died during the Genji-Heike battle for imperial succession, Kenrei became a nun to pray for her child’s soul. She painfully recounts the final hours of her son’s life and the defeat of her clan.

Left detail and right hand page: Tsukioka Kōgyo Scene from Ohara Gokō (The Imperial Journey to Ohara), from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50 th Anniversary 2009.275

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Michimori 2009.271

After the death of Taira no Michimori in the Genji-Heike war, his young, pregnant wife Kozaishō cast herself into the sea. Years later, a priest prays at the site and encounters a fisherman and his wife in their fishing vessel, shown in the print. They reveal themselves as the ghosts of the legendary couple, comparing their grief to a Chinese hero he ro and his wife (Hsian Yű and Yű-mê-Jê). Yű-mê-Jê). Telling Telling the priest their sad tale allows them to receive enlightenment and pass from this world. A young nobleman’s mask would be used for Michimori  and  and a young woman’s mask would be used for Kozaishō. 30

Left hand page: Tsukioka Kōgyo Scene from Michimori, from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.271

Upper right: Unknown, Japan Noh mask, Imawaka, late Edo - Meiji period, 1789-1912 painted wood Gift of Roger Dunn 7 ¾ x 5 ½ in. (19.7 x 14 cm) 2010.316

Lower right: Unknown, Japan Noh mask, Ko-omote, Showa period, 1926-1989 painted wood Gift of Roger Dunn 8 � x 5 �⁄ 8 in. (21 x 13 cm) 2010.337

Imawaka. 2010.316. The mask depicts a young nobleman, his expression sensitive with full lips, worried brow, and slightly upturned mouth. The brow line and depressions near the bridge of the nose give the mask a variety of possible expressions. At the top of the forehead, a line of a nobleman’s cap can be seen. This mask could be used for a young aristocrat, a doomed warrior as in Michimori, or a deity. Ko-omote. 2010.337. Ko-omote represents a young woman and is one of the oldest styles of noh masks. Her oval face has the fullness of youth, her red lips parted revealing the blackened teeth, a mark of beauty. Almond-shaped eyes and a clear gaze rest below a smooth forehead, where her eyebrows are delicately brushed in. The mask is widely used in both major roles and secondary roles representing young women, as in Take no Yuki, print 2009.266. 31

Kōtei 2009.265

Based on the Chinese classic Song of Everlasting Sorrow, this play centers on the Emperor’s favorite, the beautiful consort Yōkihi (Yang Guifei in Chinese), who has fallen ill. The Emperor, assisted by the spirit of Shōki, places a mirror by her side to expel the demon causing her illness. As he does so, the demon appears to do battle, but is vanquished. Yōhiki is played by a child actor.

Tsukioka Kōgyo Scene from Kōtei, from the series Pictures of Noh Plays, 1898 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.265

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Higaki (The Cypress Cypress Hedge) 2010.228 , 2009.264

An old woman who brings water to the temple daily tells a priest of a lovely dancer who lived in a house surro unded by a cypress hedge (higaki). She is the ghost of that young woman, living in torment for her past transgressions. She dances for the priest, reliving her past. 2010.228 gives a perspective of the staging, with the priest sitting and listening to the woman’s story, while 2009.264 shows details of the costume and the mask of the old woman.

Above: Tsukioka Kōgyo Higaki (The Cypress Hedge) woodblock print Gift of Roger Dunn 2010.228

Left: Tsukioka Kōgyo Scene from Higaki (T he Cypress Hedge), from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.264

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Sōshi Arai Komachi (Komachi’s Paper-washing) 2009.269

The beautiful and clever Ono no Komachi competes in a poetry contest with a final poem composed overnight. Her competitor finds Komachi’s poem and copies it into an older book in an attempt to discredit her. Before the Emperor, Komachi examines the copy, then demands water be brought in. The newly written poem washes away and the Emperor deems her the winner of the contest.

Tsukioka Kōgyo Scene from Sōshi Arai Komachi (Komachi’s Paper-washing),, from the series One Paper-washing) Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50 th Anniversary 2009.269

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Sekidera Komachi (Komachi at Seki Temple) Temple) 2010.195

Ono no Komachi, now an ancient woman, lives in a hut near a temple, Sekidera. Priests come to beg Komachi for a poem during Tanabata, a celebration when trees are decorated with poem strips. Komachi recounts her court life, sings of the enduring beauty of poetry, and finally dances as the temple bells toll the coming dawn. The framework here represents Komachi’s hut, decorated with poem strips.

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Tsukioka Kōgyo Sekidera Komachi (Komachi at Seki Temple) woodblock print Gift of Roger Dunn 2010.195

Adachigahara / Kurozuka (The Plain of Adachi or The Black Mound) 2009.273

Travelling priests beg an old woman for a night’s lodging. When she leaves to collect firewood, they look around her home and discover that she is a fierce man-eating demon. The woman returns, now the enraged demon, and chases the priests. Their prayers save them, however, and the demon vanishes. This play employs a version of the hannya mask, 2010.322. Hannya, 2010.322 Used for women who have transformed into demons, at first glance, this startling mask seems pure demon with the gold or gilt horns, wide grimace filled with gold teeth, and large gold eyes. Yet the mask retains the basic outline of a woman’s face, with the eyebrows painted high on the smooth forehead. The b row line emphasizes the misery of the woman. The mask has a distinct centerline from the red V at the top of the crown to the V on the chin. The woman in Adachigahara / Kurozuka would wear such a mask; the mask in Dōj ōji would bear similarities but of ten the performer chooses a mask of a darker hue.

Tsukioka Kōgyo Scene from Adachigahara / Kurozuka (The Plain of Adachi or The Black Mound), from the seriesOne Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50 th Anniversary 2009.273

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Dōjōji (Dōjō Temple) Temple) 2009.267

A dancer appears during the rededication of a bell, but as she dances it is clear she is actually the ghost of a demon-woman who killed a young priest. The large bell suspended above the stage drops on the dancer and as it is lifted the demon appears. The dancer wears a mask similar to 2010.337, and the demon wears a version of the hannya mask, 2010.322, as displayed in the upper right of the print.

Tsukioka Kōgyo Scene from Dōjōji (Dōjō Temple), from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.267

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Unknown, Japan Noh mask, Ko-omote, Showa p eriod, 1926-1989 painted wood Gift of Roger Dunn 8 � x 5 �⁄ 8 in. (21 x 13 cm) 2010.337

Unknown, Japan Noh mask, Hannya, Showa period, 1926-1989 painted wood Gift of Roger Dunn 8 � x 6 ¾ in. (21 x 17.1 cm) 2010.322

Hannya, 2010.322 Used for women who have transformed into demons, at first glance, this startling mask seems pure demon with the gold or gilt horns, wide grimace filled with gold teeth, and large gold eyes. Yet the mask retains the basic outline of a woman’s face, with the eyebrows painted high on the smooth forehead. The brow line emphasizes the misery of the woman. The mask has a distinct centerline from the red V at the top of the crown to the V on the chin. The demon character in Dōjōji would wear a mask similar to this, but often the performer chooses a hannya mask of a darker hue.

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Ama (The Pearl Diver) 2009.272

An official visiting Shido Bay encounters a woman who speaks of a pearl diver. To ensure her son’s inheritance, the diver loses her life recovering a jewel from the bay. She is the ghost of the diver, the official is her son, and she gives him a letter requesting prayers for her salvation. She returns as a Dragon Woman and dances in celebration of their reunion. 40

Tsukioka Kōgyo Scene from Ama ( The Pearl Diver), from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.272

Kagetsu 2009.261

A child is abducted, then sold to a temple as a serving boy (kasshiki) to the priests, but grows to become a celebrated dancer. Called Kagetsu, one day as he dances for a travelling priest, he draws his bow to shoot a bird, but thinks better of it as a Buddhist. The priest realizes the boy is his longlost son and the two are joyfully reunited. This print is by Gyokusei, the daughter of Kōgyo. The boy wears mask 2010.317.

Kasshiki. 2010.317. As the face of an adolescent boy, the mask bears some resemblance to many women’s masks. The gingko pattern of hair on the forehead marks him as a temple serving boy. The face has the roundness of youth, with full lips, and a faint smile. The play Kagetsu would use this mask.

Tsukioka Gyokusei Scene from Kagetsu, 1897-1975 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.261

Unknown, Japan Noh mask, Kasshiki, mid-late Edo period, 1704-1868 painted wood Gift of Roger Dunn 8 � x 5 3 ⁄ 16 16 in. (21 x 13.2 cm) 2010.317

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Tsukioka Kōgyo Scene from Tōsen woodblock print Gift of Roger Dunn 2010.219

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Tōsen 2010.219

Sokei, a Chinese naval officer captured in battle, was drawn into servitude in Japan where he raises a new family. After 13 years, his children from China find him and want to bring him home, but the landlord initially refuses to allow Sokei’s Japanese children to leave. Seeing Sokei’s anguish, however, he relents and the group sets sail for China.

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Tsukioka Kōgyo Scene from Toroibune (The Bird-scaring Boat), from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.278

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Torioibune (The Bird-scaring Boat) 2009.278

While a lord is away, his noble wife and son are bullied into doing menial labor, using a boat to scare birds from the fields. Returning to find them at this task, the lord threatens to kill the bullying servant. However, the wife pleads with the lord to spare his life as it was the lord’s absence that put his wife and heir in such a position.

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Take no Yuki 2009.266

Mistreated by his stepmother, a boy sets off to visit his mother but is soon called back. In the cold bamboo forest, shut out of his father’s house, the boy dies. His mother and sister discover him and mourn the boy near the snow-covered bamboo. The father joins them and in response to their prayers to the Buddha, the boy is restored to life. 46

Tsukioka Kōgyo Scene from Take no Yuki (Snow on Bamboo), from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.266

Kokaji (The Swordsmith) 2010.194

The swordsmith Munechika receives an imperial order to produce a sword. Absent a second swordsmith for such an undertaking, Munechika goes to pray. A boy appears and assures him the fox deity will assist him. The boy transforms into a fox deity and assists Munechika in the successful forging of the sword.

Tsukioka Kōgyo Kokaji (The Swordsmith) woodblock print Gift of Roger Dunn 2010.194

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Tsukioka Kōgyo Scene from Ikkaku Sennin, from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.260

Unknown, Japan Noh mask, Ikkaku Sennin, Taisho period, 1912-1926 1912-1926 painted wood Gift of Roger Dunn 7 �x 5 ½ in. (19.7 x 14 cm) 2010.327

Ikkaku Sennin 2009.260

Ikkaku Sennin, born of a deer and possessing supernatural powers, has sealed the dragons of rain in a cave. To break the drought, the Emperor sends a beautiful woman to seduce Sennin. After drinking and watching the woman dance (pictured here), Sennin passes out. The dragons are freed and Sennin wakes to rain, his powers now gone. The mask 2010.329 is used only for this play.

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Ikkaku sennin. 2010.327. Ikkaku Sennin is a supernatural being born of a deer and a woman, used only in the play of the same name as in print 2009.260. The shape and facial features bear similarities to men’s masks. The vermilion color ringing the gold eyes is repeated in the furrows of the face, enhancing the indicators of Ikkaku’s power.

Ukai (The Cormorant Fisher) 2009.268

Travelling monks meet an old cormorant fisherman, and urge him to cease taking life as a fisherman. After miming cormorant fishing, the man reveals he is a ghost, as his own life was taken for his acts against Buddhist teachings. The priests pray for the man’s soul and the lord of the dead appears, telling them that their prayers have saved the man’s soul.

Tsukioka Kōgyo Scene from Ukai (The Cormorant Fisher), from the series One Hundred Noh Plays, 1922-1925 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.268

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Nue 2010.207

Nue draws on the legend of a monster that caused an Emperor to fall ill. Nue was hunted and killed, then sealed in a dugout in the bottom of a river. As a ghost, it appears to a travelling priest first as a boatman and later in its original form. The priest agrees to its plea pl ea to pray for its salvation even as Nue sinks back into the depths.

Tsukioka Kōgyo Scene from Nue woodblock print Gift of Roger Dunn 2010.207

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Momijigari (Maple Viewing) Viewing) 2009.280

Taira no Koremochi is hunting in the mountains in the autumn and happens upon a beautiful noblewoman and her party who have come to enjoy the fall colors. He drinks with them until he falls asleep. In his dream, a deity gives him a sword, revealing that the woman is in fact the demon of the mountain. He wakes to a battle with the demon and vanquishes it.

Tsukioka Kōgyo Scene from Momijigari (Maple Viewing), from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.280

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Tsuchigumo (The Ground Spider) 2010. 225

A monstrous spider unsuccessfully tries to kill the demon-slaying lord, Raikō, who sends his soldiers to seek it out and destroy it. Finding the spider in a mound, they attack. The spider casts its web, but eventually is vanquished. vanquis hed. The performance performan ce is notable for the streams of paper thrown by the brightly costumed “spider” during the battle. 54

Tsukioka Kōgyo Tsuchigumo (The Ground Spider) woodblock print Gift of Roger Dunn 2010.225

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Kasuga ryūjin (The Dragon God of Kasuga) 2010.221

Kasuga ryūjin is based on the tale of the monk Myōe. Planning a pilgrimage, the monk stops at Kasuga Shrine to bid farewell. There he finds an attendant who persuades him to give up his plans. In the second part of the play, the attendant is revealed as the Dragon God, who dances in celebration before Myōe. 56

Tsukioka Kōgyo Kasuga ryūjin (The Dragon God of Kasuga) woodblock print Gift of Roger Dunn 2010.221

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Ryōko: The Dragon and the Tiger 2010.206.B.TMS1 2010.206. B.TMS1 (tiger) (tiger) and 2010.206.A.TMS1 (dragon)

Monks on a pilgrimage in China meet an old woodcutter and his young companion. In this area, they tell the monks, a tiger lives in a bamboo forest and a dragon lives in the clouds of a nearby high mountain. When the dragon descends from the clouds, tiger and dragon do battle. The men leave and the monks hide behind a boulder and watch as the dragon descends, the tiger comes out, and a furious battle ensues.

Tsukioka Kōgyo Ryōko: The Dragon and the Tiger woodblock print diptych Gift of Roger Dunn 2010.206.A-B

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Shakkyō (The Stone Bridge), Red-wigged and white wigged lions 2009.282. Shakkyō (The Stone Bridge), Bridge), Red-wigged dancing lion 2010.208.

A brilliantly colorful noh for the end of a day’s performance, Shakkyō tells the story of a famous monk on a pilgrimage. At a narrow stone bridge, he encounters a boy who tells him that beyond the bridge is the Pure Land, then disappears. As the monk waits, a lion dances across the bridge toward him, carrying bouquets of peonies. 2009.282 shows the Monk with two dancing lions and stands of peonies. 2010.208 shows a closer view of a performance with one lion. 60

Above: Tsukioka Kōgyo Scene from Shakkyō (The Stone Bridge), from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.282

Right hand page: Tsukioka Kōgyo Shakkyō (The Stone Bridge) woodblock print Gift of Roger Dunn 2010.208

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Kyo¯ ge gen n Pr Prin intts

Dondarō, Mr. Dumbtarō 2009.277

Mr. Dumbtarō returns to the capital after a threeyear journey, anxious to see his wife and his mistress. But both women have taken new husbands and refuse to see him. Dumbtarō decides to enter the monastery to save face. face . However, the women have a change of heart and convince him to stay, spending half a month with each woman. In repentance for their initial refusal of him, the women carry him back to the capital in their arms.

Tsukioka Kōgyo Kyōgen scene from Dondarō, Mr. Dumbtarō, from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.277

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Saru zatō 2009.279

A monkey trainer happens upon a beautiful woman and her blind husband. He convinces the woman to run away with him, substituting his monkey for the blind man’s wife. In kyōgen, a woman is indicated by a white cap with trailing fabric along the sides. The T he trainer wears no cap; the blind man wears the brocade cap. A child actor often plays the monkey and would wear a saru mask 64

Tsukioka Kōgyo Kyōgen scene from Saruzatō, from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.279

Saru. 2010.321. Monkeys appear often in kyōgen, both for comic effect and because these characters are excellent roles for child performers. The round, brigh t eyes and open-mouthed grin make this a happy, mischevious monkey. The monkey in Saru zatō 2009.279 would use such a mask.

Unknown, Japan Kyōgen mask, Saru, late Edo period, 1789-1868 painted wood Gift of Roger Dunn 8 �⁄ 8 x 6 in. (20.6 x 15.2 cm) 2010.321

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Tsukioka Kōgyo Kyōgen scene from Kogarakasa (The Umbrella Sutra) woodblock print Gift of Roger Dunn 2010.232

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Kogarakasa (The Umbrella Sutra) 2010.232

Having built a hut for a priest, one of a group of villagers goes to search out a candidate. He happens upon a young novice and, mistaking him for a priest, returns with him. The novice has a gambling problem combined with a limited knowledge of Buddhist rites. He performs an “umbrella sutra” for visiting pilgrims, making off with their offerings.

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Fuku no Kami, The God of Good Fortune 2009.276

In this kyōgen, two men paying their respects at a shrine on New Year’s are startled to find the God of Fortune before them. Amid much merriment and drinking of delicious sake, the deity talks to them of true wealth, not gold, silver, rice, or gifts, but the love of husband and wife, of neighbors and benevolence. After the celebration, the two leave the shrine laughing merrily. Ebisu 2010.331. Ebisu, one of the Seven Gods of Good Fortune, is a patron god of merchants and fishermen. His appearance in Fuku no Kami (2009.276) is typical of this wise and good-natured deity. His round face, smiling mouth, and eyes crinkled in laughter express his delight. The pendulous ear lobes reveal the wisdom of this god. The mask is often carved with an open mouth.

Unknown, Japan Noh mask, Ebisu, Taisho period, 1912-1926 painted wood Gift of Roger Dunn 2010.331

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Tsukioka Kōgyo Kyōgen scene from Fuku no Kami, The God of Good Fortune, from the series Pictures of Noh Plays, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50th Anniversary 2009.276

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Noh practice performance, 2010.218, 201 0.218, gives a view of a noh stage as a performer practices. While the main performer practices the dance, two colleagues chant in place of the chorus. Just as in contemporary theaters, pillars support a roof over the stage and along the bridgeway. White gravel surrounds the stage, with three pines placed along the bridgeway. Another pine is painted on the upstage wall. The stage and this scene would be familiar to anyone who practices or studies noh today.

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Tsukioka Kōgyo Picture of Noh Stage woodblock print Gift of Roger Dunn 2010.218

Ladies viewing a noh performance, 2009.263

When the strict class system fell in 1868 in Japan, noh professionals needed to develop new audiences to replace the noble patrons of the Edo period. Merchant s had increasingly become involved in noh toward the end of the era, but now professionals reached out even further to popularize the art, giving lessons and sparking interest in performance. This print shows several women watching a performance, possibly students of the art with their utaibon (or song books) open as they follow along. Giving lessons continues to sustain noh professionals and students with open books on their laps is a common sight at noh performances. The print is attributed to Ogata Gekkō, a mentor of Tsukioka Kōgyo.

Ogata Gekko Viewing a Noh play, from the series Catalog of Ladies' Customs, 1897 woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museum’s 50 th Anniversary 2009.263

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Yamamba. 2010.318. A specialty mask, Yamamba is used only in the play of that name. Yamamba is a solitary old woman living the mountains, filled with mystical power. The mask reveals this through the gold and scarlet eyes, two rows of golden teeth, and pieces of hair in disarray. Strong cheeks display her forceful nature. The alternating colors in the eyebrows are a hallmark of this mask. Ancient and powerful, Yamamba can be interpreted as a benevolent spirit or a restless soul, wandering the mountains. 72

Unknown, Japan Noh mask, Yamamba, Meiji period, 1868-1912 painted wood Gift of Roger Dunn 8 � x 5 5 ⁄ 16 16 in. (21 x 13.5 cm) 2010.318

Yoroboshi. 2010.336. Used only for the play of the same name, Yoroboshi depicts an adolescent boy thrown out of his home. The small slits of eyes indicate the boy is blind. The shape of the face indicates a refined character, as do the delicate eyebrows. The drawn strands of hair and shape of the face are similar to masks of other adolescents.

Unknown, Japan Noh mask, Yoroboshi, Taisho period, 1912-1926 painted wood Gift of Roger Dunn 8 � x 5 in. (21 x 12.7 cm) 2010.336

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Yase otoko, sometimes called Ryō no Yase otoko. 2010.323. This mask represents the spirit of a man suffering in hell for the sins of his life. The gilt brass rings in his sunken eyes, the red tint of the whites, and the sharp lines of the emaciated face reveal a profound torment of spirit. Masks in this group could be used for spirits coming back to tell of unrequited love or hunters expressing regret for their sin of taking life. 74

Unknown, Japan Noh mask, Yase otoko (Ryō no Yase otoko), Showa period, 1926-1989 painted wood Gift of Roger Dunn 8 �⁄ 8 x 5 � in. (20.6 x 14 cm) 2010.323

Akubo-jō 2010.324. The high cheekbones, slightly bucktoothappearance, and drooping eyes of this mask give it a versitility in characterization. Akobujō would be worn by the foreign magistrate in Tōsen (2010.219), a celebrated priest, or a father grieving for a lost child. Horsehair plugs on chin and head complement the painted mustache

Unknown, Japan Noh mask, Akubo-jō, late Edo - Meiji period, 1789-1912 painted wood Gift of Roger Dunn 8 3 ⁄ 8 x 6 � in. (21. 3 x 15.9 cm) 2010.324

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Ishio-jō. 2010.325. This Edo-period mask can be used for spirits of Shintō deities, often appearing in the second half of a play as the spirit of a sacred tree or shrine deity. The downturned eyes, high cheekbones, and deep wrinkles give the mask an air of solemnity, while the upturned mouth indicates benevolence. The hair on noh masks was commonly a plug of horsehair.

Unknown, Japan Noh mask, Ishio-jō, mid Edo period, 1704-1789 painted wood Gift of Roger Dunn 8 � x 5 � in. (21 x 14.6 cm) 2010.325

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Oto. 2010.330. This kyōgen masks represents a jolly, adult woman. The dimpled cheeks, cheery eyes, and happy smile rest on a round face, considered a comic trait in Japanese culture. She carries some conventions of beauty: pink circles on her cheeks, blackened teeth, and short brows painted on the forehead.

Unknown, Japan Kyōgen mask, Oto, Taisho - Showa period, 1912-1989 painted wood Gift of Roger Dunn 8 � x 6 � in. (21 x 15.9 cm) 2010.330

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Oji. 2010.319. A kyōgen mask used in comical performances for old men, it depicts a toothless old uncle. The exaggerated eyebrows are plugs of horsehair. Remnants of a beard are painted on the chin.

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Unknown, Japan Noh mask, Oji, Me iji period, 1868-1912 painted wood Gift of Roger Dunn 8 x 5 � in. (20.3 x 14.6 cm) 2010.319

Buaku. 2010.332. This kyōgen mask is used in the play of the same name as well as for other plays requiring a demon or demi-god. The large nose and upturned eyes give this version of Buaku a more comic than fierce lo ok. The grimace filled with teeth mimics the closed mouth of the serious noh mask ōbeshimi, and many of the plays featuring this mask poke fun at the more serious noh.

Unknown, Japan Kyōgen mask, Buaku, late Edo p eriod, 1789-1868 painted wood Gift of Roger Dunn 7 ¾ x 6 ¾ in. (19.7 x 17.1 cm) 2010.332

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Usofuki side glance, 2010.333, Usofuki looking forward 2010.334. In Japanese, “uso” means “to lie” while “fuku” indicates wind or sometimes whistling. The gold eyes and extremes of expression indicate a non-human, though in this case they do not have supernatural powers. The mask can be used for animals, secondary characters and in one play, for warring fruits and vegetables. The mask’s mask ’s nickname is “mosquito.”

Above left: Unknown, Japan Kyōgen mask, Usofuki, Showa period, 1926-1989 painted wood Gift of Roger Dunn 7 ½ x 6 ½ in. (19.1 x 16.5 cm) 2010.333

Above right: Unknown, Japan Kyōgen mask, Usofuki, late Edo period, 1789-1868 painted wood Gift of Roger Dunn 8 x 5 ¾ in. (20.3 x 14.6 cm) 2010.334

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Kitsune. 2010.335. The fox appears in Japanese folklore with magical powers, sometimes as a woman. This particular fox mask has an almost malevolent effect, with the fierce, goldeneyed glare, the tufts of hair, furrowed brow, and mouth full of teeth. The fox often attempts to pass as human and reveals itself in the second part of the play.

Unknown, Japan Kyōgen mask, Kitsune, Taisho period, 1912-1926 painted wood Gift of Roger Dunn 8 x 5 ½ in. (20.3 x 14 cm) 2010.335

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One Mask: Three Angles Unknown, Japan Noh mask, Ko-omote, Showa period, 1926-1989 painted wood Gift of Roger Dunn 8 � x 5 �⁄ 8 in. (21 x 13 cm) 2010.337

Phoenix Art Museum 1625 N. Central Ave. Phoenix, AZ 85004-1685 www.phxart.org

All masks photos by Ken Howie All prints photos (except 2009.281, 2009.266 & 2009.269) by Mike Lundgren.