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Tsuchigumo (The Ground Spider) 2010.225

A monstrous spider unsuccessfully tries to kill the demon-slaying lord, Raik, 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. The performance is notable for the streams of paper thrown by the brightly costumed spider during the battle.

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

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Kasuga ryjin (The Dragon God of Kasuga) 2010.221

Kasuga ryjin is based on the tale of the monk Mye. 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 Mye.

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Tsukioka Kgyo Kasuga ryjin (The Dragon God of Kasuga) woodblock print Gift of Roger Dunn 2010.221

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

Monks on a pilgrimage in China meet an old woodcutter and his young com-panion. In this area, they tell the monks, a tiger lives in a bamboo forest and a dragon lives in the clouds of a near-by 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 KgyoRyko: The Dragon and the Tigerwoodblock print diptychGift of Roger Dunn 2010.206.A-B

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Shakky (The Stone Bridge), Red-wigged and white wigged lions 2009.282.

Shakky (The Stone Bridge), Red-wigged dancing lion 2010.208.

A brilliantly colorful noh for the end of a days performance, Shakky 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.

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

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

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Dondar, Mr. Dumbtar 2009.277

Mr. Dumbtar returns to the capital after a three-year journey, anxious to see his wife and his mistress. But both women have taken new husbands and refuse to see him. Dumbtar decides to enter the monastery to save 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 Kgyo Kygen scene from Dondar, Mr. Dumbtar, from the series Pictures of Noh Plays, 1897woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museums 50th Anniversary 2009.277

Kyogen Prints

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Saru zat 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 mans wife. In kygen, a woman is indicated by a white cap with trailing fabric along the sides. The trainer wears no cap; the blind man wears the brocade cap. A child actor often plays the monkey and would wear a saru mask

Tsukioka Kgyo Kygen scene from Saruzat, from the series Pictures of Noh Plays, 1897woodblock print on paper Gift of Sherri Beadles and Gene Koeneman in honor of the Museums 50th Anniversary 2009.279

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

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

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Tsukioka Kgyo Kygen 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 kygen, two men paying their respects at a shrine on New Years 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 pendu-lous ear lobes reveal the wisdom of this god. The mask is often carved with an open mouth.

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

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

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Noh practice performance, 2010.218, 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.

Tsukioka KgyoPicture of Noh Stagewoodblock printGift of Roger Dunn2010.218

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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. Merchants 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 Gekk, a mentor of Tsukioka Kgyo.

Ogata GekkoViewing a Noh play, from the series Catalog of Ladies' Customs, 1897woodblock print on paperGift of Sherri Beadles and Gene Koeneman in honor of the Museums 50th Anniversary2009.263

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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.

Unknown, Japan Noh mask, Yamamba, Meiji period, 1868-1912painted wood Gift of Roger Dunn 8 x 5 516 in. (21 x 13.5 cm) 2010.318

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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 Ry 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.

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

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Akubo-j 2010.324. The high cheekbones, slightly bucktooth-appearance, and drooping eyes of this mask give it a versitility in characterization. Akobuj would be worn by the foreign magistrate in Tsen (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-j, late Edo - Meiji period, 1789-1912painted wood Gift of Roger Dunn 8 38 x 6 in. (21.3 x 15.9 cm) 2010.324

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Ishio-j. 2010.325. This Edo-period mask can be used for spirits of Shint 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-j, mid Edo period, 1704-1789painted wood Gift of Roger Dunn 8 x 5 in. (21 x 14.6 cm) 2010.325

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Oto. 2010.330. This kygen 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 Kygen mask, Oto, Taisho - Showa period, 1912-1989painted wood Gift of Roger Dunn 8 x 6 in. (21 x 15.9 cm) 2010.330

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Oji. 2010.319. A kygen 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.

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

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Buaku. 2010.332. This kygen 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 look. The grimace filled with teeth mimics the closed mouth of the serious noh mask beshimi, and many of the plays featuring this mask poke fun at the more serious noh.

Unknown, Japan Kygen mask, Buaku, late Edo period, 1789-1868 painted wood Gift of Roger Dunn 7 x 6 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 masks nickname is mosquito.

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

Above right:Unknown, Japan Kygen mask, Usofuki, late Edo period, 1789-1868painted wood Gift of Roger Dunn 8 x 5 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, golden-eyed 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 Kygen mask, Kitsune, Taisho period, 1912-1926 painted wood Gift of Roger Dunn 8 x 5 in. (20.3 x 14 cm) 2010.335

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.

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