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Welcome to the world of Noh masks, where ancient traditions meet modern interpretation. These handcrafted masks are a staple of the classic Noh theater, with a history dating back to the late Heian era in 12th century Japan. Each mask is carefully designed to represent a specific character or emotion, from the dignified Jō masks of elderly men, to the fiercely expressive Tobide masks of demons and savages.

But perhaps the most iconic of all Noh masks are the Onna masks, which portray young women in a variety of roles and emotions. From the delicate Ko-omote mask to the fierce Hannya, these masks are the perfect embodiment of femininity and grace.

No matter which mask you choose, you'll be transported to a world of ancient rituals and supernatural beings, all brought to life by the skilled performers of the Noh theater. So come and explore the timeless art of the Noh mask, and discover the magic of Japanese tradition.

Other information

Zeami (Noh playwright) is considered a genius of Japanese culture, on par with the likes of Sen no Rikyu and Basho Matsuo, yet his book "Jūroku-bu-shū" was not discovered until 1883. His insights on the art of performance and society have stood the test of time and continue to provide wisdom for modern living.

Zeami differentiates Noh from other performance arts by creating a brand around "subtlety and profoundness"

Subtlety and profoundness refers to a soft, gentle, and beautiful condition, present in Noh music and the posture of a Noh actor

Noh beauty is created through a combination of artistic elements such as chant, dance, music, and costume

Zeami established the grand master system (kuden) to further mystify the value of subtle and profound beauty and establish the brand image of Noh
"Flower" is a key concept in Zeami's Noh, referring to the creation of a new appearance suitable for each moment through following one's surroundings and innate nature

"Flower" represents the ultimate goal of Noh, to achieve a state of "unconscious acting" where the actor becomes one with the role and the audience is moved to tears

"Flower" is achieved through "kan" (resonance) between the actor and the audience, and can only be fully realized in live performance.