Noh Mask thumbnail 1
Noh Mask thumbnail 2
Not currently on display at the V&A

Noh Mask

2000 (made)
Artist/Maker
Place of origin

Noh is the classical theatre of Japan which was codified in the 14th century by the father and son actors Kan'ami and Zeami under the patronage of the Shogun (supreme military leader) Ashikaga Yoshimitsu. Under Yoshimitsu the Zen principles of restraint, understatement, economy of movement and frugality of expression became incorporated into the performance. By the early seventeenth century Noh had become an even more austere and formalised drama reserved almost exclusively for the military elite.

The mask of Zo-Onna is that of a slightly older woman (perhaps in her twenties) as indicated by the thinner face. The mask is used in many plays and is considered suitable for female roles which call for elegant refinement: for example, Rokujo in Nonomiya (The Shrine in the Field) or the Heavenly Maiden in Hagoromo (The Feather Mantle) might wear this mask.

The small elegantly sculpted mask is carved from a single piece of hinoki, cut across the grain of the wood. A thin layer of gofun has been built up over the carved wood and painted details applied. The fine features are emphasised by the high forehead and the restrained carving of the eyes which lack any pronounced details of the eyebrows. The nose is firm yet delicate and the bridge flows gracefully from the middle of the forehead. The mouth is small yet sensuous, the lips parted slightly to reveal the upper teeth.


Object details

Category
Object type
Parts
This object consists of 2 parts.

  • Noh Mask
  • Bag
Materials and techniques
Carved from a block of Japanese cypress with applied gesso (J. gofun) and painted
Brief description
Woo, Japan, theatrical accessories. Noh mask of zo-onna, Suzuki Nohjin, Kobe, 2000.
Physical description
Carved and painted wooden Noh mask of Zo-Onna
Dimensions
  • Height: 21.2cm
  • Width: 13.8cm
Style
Marks and inscriptions
'Nohjin' (Artists name, in a circular brand inside the mask.)
Credit line
Suzuki Nohjin Bequest
Object history
In 1965 Suzuki Nohjin began training under Ujiharu Nagasawa, a renowned carver of Noh masks. From his studio in Kobe, Suzuki continued a tradition which stretches back over some 600 years creating Noh masks both for performance and exhibition. Suzuki has donated a number of masks since 1987 thereby enhancing the V&A’s collections of masks which began in 1876 when we acquired 12 masks from Samuel Bing.

During February and March 2002 in the Toshiba Gallery at the V&A, as part of the Japan 2001 Festiva, Suzuki displayed 12 masks in the exhibition ‘The Spirit of Transformation: the Noh masks of Suzuki Nohjin’ and subsequently donated six masks (FE.127 to 132-2002).

It was typical of Suzuki’s friendship with the V&A that even on his death-bed that among his last thoughts he instructed a bequest of No masks – including a mask of Okina, a type that I had mentioned to Suzuki many years ago that we would dearly love to have in our collection.
Summary
Noh is the classical theatre of Japan which was codified in the 14th century by the father and son actors Kan'ami and Zeami under the patronage of the Shogun (supreme military leader) Ashikaga Yoshimitsu. Under Yoshimitsu the Zen principles of restraint, understatement, economy of movement and frugality of expression became incorporated into the performance. By the early seventeenth century Noh had become an even more austere and formalised drama reserved almost exclusively for the military elite.

The mask of Zo-Onna is that of a slightly older woman (perhaps in her twenties) as indicated by the thinner face. The mask is used in many plays and is considered suitable for female roles which call for elegant refinement: for example, Rokujo in Nonomiya (The Shrine in the Field) or the Heavenly Maiden in Hagoromo (The Feather Mantle) might wear this mask.

The small elegantly sculpted mask is carved from a single piece of hinoki, cut across the grain of the wood. A thin layer of gofun has been built up over the carved wood and painted details applied. The fine features are emphasised by the high forehead and the restrained carving of the eyes which lack any pronounced details of the eyebrows. The nose is firm yet delicate and the bridge flows gracefully from the middle of the forehead. The mouth is small yet sensuous, the lips parted slightly to reveal the upper teeth.
Collection
Accession number
FE.2:1, 2-2004

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Record createdJune 25, 2009
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