The origin of ‘tal’ and ‘omote’ derives from religious rituals, thereby contains a goal within itself, the pursuit of the divinity, and the heteromorphic facial expressions, the fruit of such an attempt.
It is a means to visualize supernatural forces, hence the heteromorphic appearances.
By successfully conveying such intention, it could equivocally represent secular humane attributes along with divine aspects.
This paper will discuss the mask of a piteous old lady who had been abandoned by her family and is leaning towards death away from life.
Both masks have distinctive faces unidentifiable as normal, human facial expressions.
It is thought to be the result of visualized cogitation to portray secular and divine worlds simultaneously, as well as its religious and shamanistic roots.
@article{ART002315285}, author={hwang suk joo}, title={On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-}, journal={日本硏究}, issn={1229-6309}, year={2018}, number={48}, pages={183-198}, doi={10.20404/jscau.2018.02.48.183}
TY - JOUR AU - hwang suk joo TI - On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’- JO - 日本硏究 PY - 2018 VL - null IS - 48 PB - The Center for Japanese Studies SP - 183 EP - 198 SN - 1229-6309 AB - The origin of ‘tal’ and ‘omote’ derives from religious rituals, thereby contains a goal within itself, the pursuit of the divinity, and the heteromorphic facial expressions, the fruit of such an attempt.
It is a means to visualize supernatural forces, hence the heteromorphic appearances.
By successfully conveying such intention, it could equivocally represent secular humane attributes along with divine aspects.
This paper will discuss the mask of a piteous old lady who had been abandoned by her family and is leaning towards death away from life.
Both masks have distinctive faces unidentifiable as normal, human facial expressions.
It is thought to be the result of visualized cogitation to portray secular and divine worlds simultaneously, as well as its religious and shamanistic roots. KW - Mask;tal;omote;charm;heteromomphy DO - 10.20404/jscau.2018.02.48.183 ER -
hwang suk joo. (2018). On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-. 日本硏究, 48, 183-198.
hwang suk joo. 2018, "On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-", 日本硏究, no.48, pp.183-198. Available from: doi:10.20404/jscau.2018.02.48.183
hwang suk joo "On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-" 日本硏究 48 pp.183-198 (2018) : 183.
hwang suk joo. On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-. 2018; 48 : 183-198. Available from: doi:10.20404/jscau.2018.02.48.183
hwang suk joo. "On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-" 日本硏究 no.48(2018) : 183-198.doi: 10.20404/jscau.2018.02.48.183
hwang suk joo. On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-. 日本硏究, 48, 183-198. doi: 10.20404/jscau.2018.02.48.183
hwang suk joo. On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-. 日本硏究. 2018; 48 183-198. doi: 10.20404/jscau.2018.02.48.183
hwang suk joo. On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-. 2018; 48 : 183-198. Available from: doi:10.20404/jscau.2018.02.48.183
hwang suk joo. "On consideration of shamanistic properties seen in ‘ubamen’ and ‘miyaruhalmital’ -by focusing on ‘noh,’ ‘obasute,’ and ‘Bongsan mask dance’-" 日本硏究 no.48(2018) : 183-198.doi: 10.20404/jscau.2018.02.48.183