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Ounintei@cm’λ
KEY WORD :@art history / sculptures
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A dance piece in *bugaku •‘Šy and the mask *bugakumen •‘Šy–Κ representing a serious, stern young man. A quiet dance hiramai •½•‘ of the Right u-no-mai ‰Eƒm•‘ originating in Korea komagaku ‚—νŠy, performed by four people dancing in unison and wearing layered robes kasaneshouzoku P‘•‘© with a bird helmet torikabuto ’Ήb.
Of very early date, the dance is reputed to have been performed at the coronation of Emperor Nintoku m“Ώ in 313 by the erudite Korean master, Wani ‰€m, making it one of the first foreign dances to be introduced into Japan. It retained its celebratory function and was incorporated into the the coming-to-manhood ceremonies of the crown prince.
A firmly closed mouth and stern but not unkind expression characterize the mask. A medallion at mid-forehead centers the concentrated expression and suggests connections with *Chikyuu ’n‹v and *Taishoutoku ‘ή‘–“Γ. A fine example is the property of Tamukeyama Jinja ŽθŒόŽR_ŽΠ (1042) in Nara. Four other white masks of the same date are housed at Toudaiji “Œ‘εŽ› and another inscribed by Inshou ˆσŸ (1185) is at Kasuga Taisha t“ϊ‘εŽΠ in Nara.
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NOTES
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(C)2001 Japanese Architecture and Art Net Users System.@No reproduction or republication without written permission.
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