Masks in Shanghai Museum

Museum attracted me so much. A bit extreme to say, that the city does not have a museum, it should not claim to be urban. On my extremely view of mask: a museum without a mask is not a real museum. A small corner on the top floor of the Shanghai Museum saved its famous in my eye.

I don't know why Shanghai museum position was chosen in front of its highest power organization. Does it want their officials look into its illustrious past to position for future, the future may uncertainties of the most populous country in this world?

Side view of Shanghai Museum

I see the spirit of humility of China in this architecture, an incomunicated building, imposing but not ostentatious like most of buildings, those just want to crush people with their brutal magnitude, all around this country. A museum can represent China's huge history and has strength enough to protect priceless treasures inside it.

Front door of Shanghai Museum

Among the museum's treasures are two sets of masks, perhaps also of invaluable goods of China and the world: a mask of Tibetan Cham Dance and Nuo opera masks of Tujia, both of which are Chinese ethnic minorities.

Naive is probably the most accurate word to describe the way they display two sets of masks. Masks of the wrathful deities seem be calm down in the quiet atmosphere here.

The corner that showed two collection

I feel the deathly wrath of Yama and Yamantanka when standing next to the masks. Each perspective of view can reveal the difference angry felling; the artist (priest) must dedicate all his soul for his divine work.

Mask of Yama (left) and Yamantanka (right) in the museum

Yama mask elaborately carved in every details, eyes, nose, mouth, eyebrows. The decorative patterns and ornaments are engraved in smooth curves that in contrast to the overall extreme rough face. I do not feel evil or fear, just seeing a huge press of felling intensity on this mask.

Details of Yama mask

Museum collections are only five of the eight wrathful deities, the three remaining masks is Mahakala, Paden Lhamo and can be Hayagriva.

Mask of Mahakala (left), Paden Lhamo and Hayagriva (right)

In addition to the wrathful deity masks, Cham mask collection of this museum were representatives of human masks, animal masks, but not very rich, just gorgeous Citipati mask is worthy to standing in this collection.

Mask of Citipati (left), man and Garuda (low right)

The biggest shortcomings is the very brief caption and not very clear explanation. Viewers may not know the importance of religious dance practice in Tibet monasteries. This much information as shown in the introduction table below this is not enough to attract ordinary people to concern on masks. Suppose just say, just once in life time, people seen Cham dance and contemplation (meditate and think) the great wrathful deity may reincarnate at a good place in next life because the deity would appear at near-death time to lead people go on right way. Just simple like that, the mask may more attractive to viewers (Please see details about Cham Dance Masks here: Cham Masks).

Introduction table about mask in this museum

This introduction is really too brief.  Especially, when merged the Nuo opera dance and Cham dance mask, it is very easily lead to misunderstood about the origins of two completely difference masks. Very sorry for an excellent collection but was introduced to the public in a very bad way!

The Nuo opera mask collection is also very full and rare. Only regret that viewers cannot imagine what those masks are used in the performing space. Masks are not speak its voice!

The corner of Nuo opera mask collection of Shanghai museum

I will come back with Nuo in a details research. Below is the perfect Nuo opera masks collection of Shanghai museum.

Nuo opera mask collection of Shanghai museum

The life of people and deities of Guizhou clearly appeared here, there is an old cousin named Qui stay next to Long live god named Chang Seng Tu Di (the first column on the left), or there is a judge specialized in investigating (bottom row of the second column), have The God of Land name Di Pan and scholars Gan (second and third row, third column), have a monk (top row, 4th column) and Sang Wang, the god who recovered lost souls (middle, 5th column), there is Guang Yu legendary general with red face could not unmistakable, the king and the village announcer (at column number 6), especially horned deities, one is two horn another is one horn. They remind me about the creation legend of Yao minority in Vietnam when I faced it (please see details here: Pangu Masks).

Left: Kai Shang Man Jiang a courageous officer tthat killed demons
Right: Golden - horned general (this is the introduction of the museum)

I perhaps meet my Pangu in a different religious, may be sure that these two peoples Yao and Tujia have a certain similarity with this particular mask.

Perhaps it takes a lifetime to decode the hidden language behind the special horned god worldwide. I am opening gradually the door surround layers of mystery and collecting the joyful as a reward for my very lonely hobby.

The masks quiet in the museum are in dialogue with me about its real life. You will never understand the life of a mask if not experience moments of masks life in it performance space. Say good bye to Shanghai museum, I told my heart have to be Tibet and Guizhou, must come if only for once in my life.