Mask; Japan, Momoyama or Edo period, 17th–18th century; wood, pigment, lacquer; Collected by Seymour J. Janow and gifted in his memory by his family, F2003.5.16
Not sure what to wear for Halloween this year? You’re on your own when it comes to finding the right costume, but if you’re looking for a mask, we’ve got your back—or at least your front—covered.
This demon mask, given to the museums a dozen years ago, is the perfect scary accessory. It was made in Japan sometime between the seventeenth and eighteenth centuries. Masks have a long and extensive history in Japan that dates back to the prehistoric Jomon period; they often have been used in dance, court rituals, and religious ceremonies. This mask portrays a long-nosed demon (known as tengu in Japanese lore) and was used in Shinto shrine performances.
For Halloween success, follow these simple instructions. First, print the mask as large as you can. Next, carefully cut it out. Make a small hole on either side (near the cheeks would work well) and run a string or elastic through them. Put it on and voila: You and the demon mask are now one! Scare your friends and loved ones, and the candy seekers at your door.
More scary masks can be found when you search the Freer|Sackler collections on Open F|S, as well as on Bento and our Facebook page.
Frontal from the base of a funerary couch with Sogdian musicians and dancers and Buddhist divinities;
550–77; China; Gift of Charles Lang Freer, F1915.110
Rachel Bissonnette, a student at the University of Michigan, recently interned in the Scholarly Programs and Publications Department at Freer|Sackler.
The Freer|Sackler and the University of Michigan jointly publish an annual periodical called Ars Orientalis, which celebrates its sixtieth anniversary this year. Ars Orientalis isn’t exactly “light reading,” but it is an esteemed academic journal that produces pioneering articles on the arts of Asia, the Islamic world, and the ancient Near East. Ars Orientalis themes each of its issues, and Volume 44’s theme is “Arts of Death in Asia.” This exciting issue examines pan-Asian cultures, religious traditions, and the art that honors the deceased and warns of death’s inevitability. The print volume has just been released, and the first digital version of Ars Orientalis will be released soon!
However, you don’t have to wait for the publication to learn about some amazing funerary art. The Freer Gallery has a wonderful Sogdian funerary couch base on display. The couch, called a shichuang, is made of multiple marble slabs. The museum has three slabs on display, which were purchased by Charles Lang Freer in 1915; five other parts of the shichuang are now dispersed throughout various museum collections. Our couch dates to 550–77 CE, which was prime time for Silk Road trade between the Middle East and China. The ancient kingdom of Sogdiana (present-day southern Uzbekistan and western Tajikistan) traded luxury goods with the Tang dynasty in China. This profitable trade resulted in our wonderful funerary couch.
Shichuangs were used as burial furniture for the repose of the deceased. The couches were typically decorated with elaborately carved scenes inspired by teachings of Confucius or protective spirits to guide the dead in the afterlife. However, the Freer Gallery’s funerary couch is decorated with Buddhist themes, musicians, and dancers. The characters are in non-Chinese garb (boots, tight pants, and belted jackets). These costumes and Buddhist themes are likely due to the Sogdian influence from the Silk Road.
Explore the couch along with other spooky objects during our Halloween-themed Fear at the Freer event tonight!
The House of Broken Plates from One Hundred Ghost Tales,
Katsushika Hokusai, (1760–1849); woodblock print; color on paper; S2004.3.210
The five ghosts from the published designs of a series titled One Hundred Ghost Tales (Hyaku monogatari) reflect an Edo custom of telling ghost tales in the dark. The ghosts are among the eeriest of Hokusai’s commercially published prints, and they express Hokusai’s interest in imagining the supernatural world, which began in his youth with a print of a haunted house.
Here, a woman’s head with a serpentine neck made up of a stack of dishes represents the ghost of Okiku, whose master threw her into a well because she had broken his favorite dish. At night the sound of smashing porcelain and a voice counting “one, two, three…” emanated from the well.
Happy Halloween from Freer|Sackler. And try not to break any dishes…