The group comprises four carved and painted wood theatrical masks.

The first Japanese Noh mask depicts a fierce supernatural character, possibly of the Kotobide or Ōtobide type. The face is modeled with wide circular eye openings, strongly arched brows, a broad nose, and an open mouth revealing teeth. The eyebrows, moustache, and beard are detailed in black pigment. The reverse is inscribed Koushi Kiyomitsu (小牛清光).

Koushi Kiyomitsu was a celebrated Noh-mask carver active from the Nanbokuchō to the early Muromachi period, around the late 14th century. Traditionally associated with Echizen Province, he was counted among the legendary Jissaku, or “Ten Great Mask Makers,” and was particularly renowned for masks representing dignified elderly men. The Koushijō, also known as Kojō, mask type takes its name from him and is used in Noh plays such as Takasago and Yōrō, in which an elderly man appears as the earthly manifestation of a deity. The inscription on the reverse of the present mask records his name, although the fierce supernatural character represented differs from the dignified elderly mask types most closely associated with him.

The second Japanese Noh mask is of Kasshiki type, representing a youthful acolyte serving at a Zen temple. The white-painted face is modeled with a gentle smile and distinguished by a ginkgo leaf-shaped forelock across the forehead. The reverse bears an indistinct Japanese inscription.

The two Indonesian topeng masks are each carved with narrow eye openings and integral ornamental headdresses. One has a reddish-brown face with an elongated nose, painted brows, moustache, facial lines, and a restrained expression. The other has a dark-painted face with a broad smiling mouth, retaining traces of red pigment and gilding. Such masks were used in masked dance-drama performances depicting royal, historical, and legendary characters.

19th/20th century.

Reference: https://www.metmuseum.org/art/collection/search/861030

{Largest: length 8 inches (20.3 cm)}. 

All masks have soiling, with scattered areas of chips in lacquer with losses.  Please contact Asian Art Department for condition report.