Red Demon Mask
Red Demon Mask
Red Demon Mask
20th century (replica of 18th century work)
Lacquered wood
8.75 in x 8 in
Japan (attributed)
1979.0454P
This striking crimson-red mask is a replica of an eighteenth-century mask with unclear East Asian origins. The mask was attributed to South Korean origins, but it is more likely that the mask is of Noh theater and Japanese origin. The demonic face wears a wide grin displaying teeth, with an overall tortured expression due to its furrowed eyebrows. The top of the mask features two small horns, illustrating its demonic nature. This appearance is similar to some demon masks found in the Japanese Noh theater.
Noh theater originated in Japan, arising from the annual religious rituals known as matsuri, which were performed at shrines and temples to signify important stages in the annual cycle.1 These rituals utilized sacred objects, including masks, to bridge the spiritual and mortal realms. A mask allowed its wearer to embody the spiritual essence of their characters and connect with the divine. In the Edo Period (1603-1867), the demon mask was likely a part of the last of the five performances which would be presented at social occasions of the ruling elite.2 In this act, a demon and a mortal would engage in a spectacular battle which would lead to the defeat of the demon. The mortal character’s victory was used as a reminder of the ability and accomplishments of the hosts in coherence with the mortal and divine realms.3
Today, the utilization of masks in rural Japanese folk performances provides insight into the religious and historical roots. The masks continue to evoke a sense of reverence as vessels for divine entities. Ritualistic practices surrounding the handling of masks, such as the use of sleeves to touch them and the use of fans for their transportation from one person to another, exemplify the strict regulations observed in such performances.4 Notably, masks used in Niino Yuki Matsuri (one of the oldest types of ritual performances held in the city of Nagano in central Japan) undergo an annual renewal process, which involves the careful repainting of each mask and the prevention of contact with human breath by holding paper in the artist’s mouth. Renewal processes also involve purification and washing rituals with salt and water to further maintain their sanctity.5
The Noh mask-making process is a creative battle, filled with struggle between the lone carver and the mask during the painting, sculpting, and lacquer work of the piece. The red crimson mask displays a complex emotion, as a result of the spirit of eccentricity that each mask maker embodies.6
Noh Masks are paradoxical in nature as mask makers strive to replicate their traditional molds as much as possible while infusing a depth and subtlety that makes each mask different and emotive. The red crimson mask, typical of Noh demon masks, is made of hinoki (Japanese cypress), seasoned for 20 to 30 years. The cypress is pure and soft, yet durable—easy to mold and chisel by the mask maker while keeping the integrity and texture of the shape.7 The red demon mask is not a static object, but a lively rendering of cultural and historical significance.
After the mask is created, it is then brought to life by Noh actors. When the mask is put on backstage, the identity of the wearer shifts completely. Noh actors must learn to keep a stoic facial expression so that no smile or jagged breath will bring the audience’s attention to the actor beneath the mask.8 With limited facial movement and impaired sight, the actors are forced to rely on the character to guide them throughout the performance.9 In addition, the masks are created with deep crevices which, under different lightings, can convey a variety of emotions. A trained actor learns how to tilt their head just right so that the expression best corresponds with the current scene.10
The ritual, creation, and performance of Noh masks all contain complexities rooted in the deep history of Japanese culture and beliefs. While the fluid performance of Noh Theater has evolved over time, the masks have and will continue to serve as a physical source of continuity to tie the performances back to their roots.
Dorothy Low
Biological Sciences & Medicine, Health, and Society
Class of 2024
Katie Moore
Medicine, Health, and Society & History of Art
Class of 2025
Annotated Bibliography
Hoaas, Solrun. “Noh Masks: The Legacy of Possession.” The Drama Review: TDR 26, no. 4 (1982): 82–86.
This article explores the origins behind Noh theater in Japan. Hoaas examines various aspects of Noh masks including their history, construction, and cultural context. Hoaas argues that Noh masks serve as a medium for spirits in the natural world to be projected. She also explains the categories and types of masks in Noh theater, demon versus gods. This source was used in order to provide insight into how theater masks also have religious and ritualistic ties.
Kawai, Nobuyuki, Hiromitsu Miyata, Ritsuko Nishimura, and Kazuo Okanoya. “Shadows Alter Facial Expressions of Noh Masks.” PLoS ONE 8, no. 8 (2013).
This article details an experiment in which people identify the facial expressions on traditional Japanese Noh masks. The experiment shows that under different lighting people attribute the same masks to have different expressions. It then goes on to explain how the Noh masks were created this way intentionally so that they could be used in many ways during the performances. This ties back to actor training that was required so that the actors would know when and how to convey these emotions.
Kusamori, Shin’ichi. “The Craft of Carving Masks.” Japan Quarterly 32, no. 2 (Apr 01, 1985): 198-206.
In this article, Kusamori interviewed and observed a famous Japanese Noh mask maker. The author argues for a spirit of eccentricity and passion that mask makers must embody. The article sheds light on the intricate and complex process of creating Noh masks. The reader learns about not only the mask maker, but the process that mask makers go through in order to make each mask. The source was used to aid further background information on Noh masks, highlighting a crucial part of techniques and craftsmanship involved in the art of Noh masks.
Nishiyama, Jitsuya. “Confronting Noh Demons: Zeami’s Demon Pacifying Noh and Nobumitsu’s Demon Killing Noh.” MA Thesis, Portland State University, 2019.
This is a very long thesis that goes into detail about the differences between the plays of two different Noh writers, Zeami and Nobumitsu. Specifically the use of demons in both of their plays and the political context of those choices. While there are many differences discussed, our use of this article focused on the similarities in those performances as a whole. Both created demon-centered plays that were meant to be used as final acts of Noh performances where a mortal character would slay the demon and leave the audience on an upbeat note. Additionally, this article gives insight that the goal of the performances was to impress and instill the samurai morals onto the audience, regardless of if that audience was potential allies or enemies.
Udaka, Michishige., and Shuichi Yamagata. The Secrets of Noh Masks / Michishige Udaka ; Photography by Shuichi Yamagata. Tokyo : Kodansha International, 2010.
This book contains images of a wide variety of Noh theater masks including the Hannya mask. While we are not sure which specific mask ours is a replica of, this book helped us identify that our mask was likely a Noh mask and provided us with a lot of information specifically about demon masks that would not fit in our short article. In addition, the end of the book includes some information on the performance of aspects of Noh masks such as the necessary training that goes along with said performances. They describe how the act of hitamen, or “straight face,” is used to fully immerse the audience in the illusion that the actor and mask are one.
Yasuda, Noboru, and Nozomu Kawamoto. Noh as Living Art : Inside Japan’s Oldest Theatrical Tradition / Yasuda Noboru ; Translated by Kawamoto Nozomu. Translated by Nozomu Kawamoto. First English edition. Tokyo: Japan Publishing Industry Foundation for Culture, 2021.
The book as a whole discusses the various types of Noh plays and traditions. There is only a small section of the book which discusses the use of masks in these performances, but what they say is very important. They talk about the small eye holes, something we noticed in our visual analysis, and they limit the actors’ sight. This forces the actor to rely on their training and fall fully into the character. They simply become a vessel rather than a performer. This further explains the difference between performing a typical play vs Noh Theater.