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A PAINTED HINOKI WOOD NOH MASK OF YASE-OTOKO
奥地利
07月24日 下午5点 开拍 / 07月22日 下午3点 截止委托
拍品描述 翻译
A PAINTED HINOKI WOOD NOH MASK OF YASE-OTOKOJapan, 19th century, Edo period (1615-1868)Finely carved and decorated with polychrome pigments and gesso over hinoki wood, depicting a gaunt, emaciated man with sharp cheekbones and sunken eyes below the thinly painted eyebrows and hair. The mouth agape revealing black and gilt teeth, framed by slender red lips and a black mustache and chin beard.HEIGHT 21.1 cmWEIGHT 243 gCondition: Very good condition with minor wear, few small flakes to gesso around the edges.This Noh mask represents a ghost suffering in hell. The emaciated face of a miserable sinner is expressed impressively by the hollow cheeks and the deep-set eyes. The base color of the face is white skin, the visible upper teeth are painted with gold, the eyebrows and the mustache are painted weakly with black fine lines. In these weak expressions, only the metallic eyeballs glowing dimly show the presence of soul.Japanese Noh theater is magnificent and rarefied – a living Buddhist performance art more than 700 years old with roots and formal elements much older. Among its most distinctive features are the masks, some of which, carved centuries ago, are still used in performance today. This enduring use is possible due to the profound respect with which actors treat these masks, which carry the accumulated experience of countless performances across generations. Noh masks are carved from a single block of wood, and the meticulous chiseling and painting techniques create shadows and lights that bring the mask to life. By slightly tilting the mask up or down, actors can evoke expressions of joy or sorrow—effects known as teru (to brighten) or kumoru (to cloud). In contrast, masks of fierce deities or demons convey power through sharp lateral movements. When worn, these masks severely restrict the actor's vision, requiring them to rely on an intimate physical knowledge of the stage. As the expressions of the masks respond to the slightest head movements, actors maintain a low center of gravity and glide their feet across the floor. The standard Japanese term for 'mask' is kamen (temporary face), but in Noh, they are referred to as omote (face), implying a sense of 'truth' within the mask—an object of revelation rather than concealment. Noh masks cover the face but not the head of the actor, leaving the chin visible, as their aesthetic does not seek stage realism.Museum comparison:Compare a closely related Noh mask of Yase-otoko, also dated to the Showa period, in the Phoenix Art Museum, object number 2010.323. Compare a closely related earlier Noh mask of Yase-otoko, dated to the 18th century, in the Tokyo National Museum, collection reference number C-1540. Compare a closely related earlier Noh mask of Yase-otoko, dated to the 17th century, in the Tachibana Museum, Yanagawa, Fukuoka. Auction comparison:Compare a closely related Noh mask of Yase-otoko, dated to the Edo period, at Christie's, Japanese and Korean Works of Art, 22 September 2004, New York, lot 331 (sold for USD 5,736 or approx. EUR 9,000 converted and adjusted for inflation at the time of writing).

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拍品估价:600 - 1,200 欧元 起拍价格:600 欧元  买家佣金: 35.00%

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