Origin of the Noh Mask
Exactly when the noh mask came into being is not entirely clear however it is believed that masks, and their names still used today, were developed from the mid to latter part of the Muromachi period (1392-1573). Previous to that time, the mask conventions were not entirely set and masks themselves had stronger religious connotations. It was during the Muromachi period that the religious significance of the masks began to wane and they took on more human characteristics. It is thought that as performers started to think more about the use of yūgen (mysterious beauty) and profundity, they felt they needed to hide the unattractive aspects of their own faces and concentrate on making the beauty of noh stronger.
Between the end of the Muromachi period and the modern age the art of making noh masks was established as a hereditary art with a long lineage. Two examples are the Deme family from Echizen (present day Fukui prefecture) and the Iseki family from Ohmi (present day Shiga prefecture). Following the establishment of noh mask making families, the stylization of noh masks significantly advanced. Even today there are many independent mask makers. While some nohgaku performers still make their own masks, the performance world and the mask-making world are essentially independent of each other.
Noh Mask Expression: Teru and Kumoru
As it is often difficult to tell the actual feelings expressed in a noh mask, it is said to be made with a “neutral” expression. The mask carver tries to instill a variety of emotions in the mask.
It is up to the performer to imbue the mask with emotion. One of the techniques used in this task is to slightly tilt the mask up or down. With terasu (tilting upwards) the mask appears to be slightly smiling or laughing and the expression lightens somewhat. While kumorasu (tilting downwards), produces a slight frown and can express sadness or crying. Basically, by using minute movements, the performer is able to express very fully.