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Dramatic Masks

The wearing of masks by actors in live drama is a tradition that goes back at least as far as ancient Greek theater. Masks help audiences quickly identify who characters are and what kinds of behavior to expect of them. Masks were an essential part of commedia dell'arte, an Italian form of theater that arose in the mid 16th century and was popular in Europe through to the late 19th century.

Just a few masks of stock commedia dell'arte characters are shown below.

Capitano is a police or military character; Pantalone is a wealthy, elderly merchant and authority figure; and Harlequin is a young but dimwitted (though he sometimes has flashes of brilliance) servant who is perpetually hungry. There are many variations of these masks and  several other character masks.

England's popular Punch and Judy puppet shows were inspired by Commedia dell'arte in the mid 17th century. Commedia dell'arte's Punchinello (or Pulcinella) was a subversive, thuggish character who became the lead. In England's puppet shows. Punchinello was shortened to Punch. Judy was his suffering wife, a frequent scold.

Japanese Theater

Masks play a role in some Japanese theater, too, as well a other cultural events. There are several types of Japanese Theater.

he movements of bunraku puppets are so realistic that it is hard to distinguish them from those of real people. Three puppeteers working together are required to achieve this effect. The puppets are technically sophisticated in other ways, too. One example, shown below, illustrates the ability of some heads to change expression. Both images are of the same puppet.

Noh

The oldest major theater art still performed today, noh makes use of masks worn by live actors to tell stories. Noh is traditionally aimed at the upper classes. These are some of the masks used in noh. 

Tengu: Tengu is a red-faced demon with a long nose. Sometimes thought of as a Kami (God), Tengu is the much feared, evil spirit of the mountain.

Ko-omote: This mask represents a young beauty in the style admired in the Heian Period (794 to 1185) with a pale complexion, hair parted in the middle, blackened teeth, and painted eyebrows high on her forehead. Presumably, real beauties of the period had their real eyebrows plucked.

Hannya: This is the ghost of a young woman who, betrayed in life and mad with jealousy, comes back from the dead seeking revenge.

Kitsune (Fox): Kitsune spirits are said to be messengers of the Shintō God of harvests, Inari. They are tricksters and shapeshifters. They are mischievous and playful but also wise and clever. Wearing a kitsune mask is said to protect wearers from harm.

Kappa: Kappa are water imps or demons from Japanese folklore. They are malevolent and hazardous creatures. Children were warned not to get near rivers or the Kappa would drag them into the water. 

Okina (Old Man): This noh mask is just what the name says.

Hyottoko: This character is thought of as a kami (God) of fire. He is believed to be able to produce gold coins out of his bellybutton. His mouth has the odd, comical shape it does because he blows fire to the side out of his mouth through a bamboo pipe.

Otafuku: This fat-cheeked woman is associated with Hyottoko. She was originally ugly and fat but good-natured and humorous. Over time, she became associated with risqué humor; ugly, but charming at the same time. Note the similarity of this mask to that of Ko-omote above.

Kyōgen

Kyōgen is comic theater. It is most often short sketches performed between acts in noh plays. Because of its comic nature, the masks worn in kyōgen tend to have greatly exaggerated features. Their mere appearance is comical.

Kabuki

Non-Theatrical Masks

Masks serve other purposes in Japanese society than theatrical entertainment. As noted above, masks of various sorts are used at dances, festivals, and other occasions. Some masks had military uses, especially during the Edo Period (1603 - 1868). Samurai wore masks as part of whole-body armor to protect and disguise their faces. Some masks protected only parts of their faces. The ones that protected the whole face were called sōmen. Another purpose of facial masks, especially sōmen, was to frightened opponents.

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The soybeans grow in pods.

Mature, green soybeans, when shelled from their pods, are called edamame. 

When roasted, soybeans are called fukumame (lucky beans) in Japan.

Artwork

Utagawa Kuniyoshi (1798 – 1861) 

Kuniyoshi was one of the greatest ukiyo-e artists. Among his favorite subjects were scenes from kabuki plays. As stated above, nearly all kabuki used makeup instead of masks. This scene from a kabuki play is an exception. The title is Dance of Masks. One character is holding a stick to which two comical masks are attached. They appear to be masks of Otafuku and Hyottoko. In the background is a Hikyaku (literally "flying feet"), a rapid courier of important letters, documents, etc.

Utagawa Kuninao (1793 - 1854) 

Little is known about this ukiyo-e artist aside from his having studied in the Utagawa school. The print below appears to be of a Ko-omote mask.

Toshihide Migita (1862 - 1925)

The scene depicted here is from a kabuki play titled Nanatsumen (Seven Masks). The diptych depicts a mask carver (seated on the left) showing a set of seven noh masks to General Yoshida (seated on the right). The masks may be the objects wrapped in cloth on the tray in front of the mask carver. The print was produced in 1890.

Toshihide's Nanatsumen (Seven Masks)

Kin'u Takeshita (1870 - 1920)

The print below is a simple still life with a noh mask and fan, published sometime in the 1910s.