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LOL Ohh boy Mena7, you Whitey hating Black racists are just too much. First you think you own the patent on the wearing of braids & wigs therefore anyone in history wearing braids or wigs must be Black. Now you think you own the patent on the making of/wearing of masks & the using of umbrellas therefore anyone in history making a mask or wearing a mask or using an umbrella must be Black LOL ROTFLMBO.
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Soapstone, painted with red and green pigments; 24 x 22.5 x 18.2 cm.
William Duncan, the missionary who established Metlakatla, British Columbia: by unknown means, came into possession of the sighted mask. He offered the stone mask for sale in 1878, it was collected from the missionary by the explorer Alphonse Pinart and donated to the Musée de l'Homme, Paris in 1881. The Ottawa mask was collected in 1879 by Israel Wood Powell, deputy commissioner of Indian Affairs for British Columbia. Although he recorded acquiring the mask at Kitkatla, Powell did not visit the village that year. In view of the confusion in his records, it is probable that he acquired it in another community. One possibility is that both masks originated in Port Simpson.
Separated for over one hundred years, the two masks were not reunited until 1975, when the Paris mask travelled to Canada to appear in an exhibition. It was then that the relationship between the two masks, expressions of the same face, was discovered.
The Canadian mask, without apertures for eyes, fits snugly over the Paris mask, with its round eyeholes. It is thought that the pair was worn in a naxnox performance, where an individual's personal power was displayed in dance. To present the illusion of the eyes actually opening and closing, the dancer must have turned quickly while removing the "blind" mask to reveal the one with eyeholes. The dancer would have needed considerable strength to hold the four-kilogram (almost 9 lbs.) inner "sighted" mask in place with the wooden mouthpiece, although a harness attached through holes in the mask's rim might have helped support it. The "unsighted" mask may have been held in the hand, concealed by the dancer's costume.
The exact age of the masks is unknown, although the Paris museum exhibits theirs in the B.C. collection, indicating that it is over 2,000 years old. The Canadian Conservation Institute, Department of Canadian Heritage, has undertaken an analysis of their mask, but their results are as yet unpublished.
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The Crosby Garrett Helmet is a copper alloy Roman helmet dating to the late 1st to mid 3rd century AD. It was found by an unnamed metal detectorist near Crosby Garrett in Cumbria, England in May 2010, close to a Roman road, but a distance from any recorded Roman settlements. Photo by Daniel Pett
Anubis mask. Late period. Clay. H 49 cm. IN 1585. Roemer-Pelizaeus Museum, Hildesheim Anubis Mask
Anubis Mask
Anubis Mask
Anubis Mask Left profile of cartonnage mask depicting the jackal headed god, Anubis. Painted surface, with blue/black and white lines decorating the head-dress. Raised vertical ears, and long nose.Used by priests during mummification rituals. Fragmentary, but all pieces present. The only cartonnage Anubis Mask in existence and one of only two Anubis masks existant - the other a ceramic mask is in Hildesheim, Germany. Mask likely to be worn by a male priest playing the part of Anubis in a temple during mummification or burial ritual. Probably buried with the priest who had worn it in life.
Picture of wall painting from the tomb of Sennedjem. Anubis attending the mummy of the deceased
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In ancient Egypt, masks were primarily used for two purposes: as death masks and as ritual masks.
Ancient Egyptians believed that it is very important to preserve a body of the dead because the soul has to have a place where to dwell after the death. Preservation of the dead body was done by mummification - a process that involved removing of the internal organs and placing it in canopic jars, wrapping body in linen and embalming. It was also considered very important for the soul to be able to recognize the body so it can return to it. For that reason were used death masks. Death mask were made in the likeness of the deceased and from the different materials. Early masks were made from wood, in two pieces and connected with pegs. After that Egyptians used, so called, cartonnage, a material made from papyrus or linen and soaked in plaster and then molded on a wooden mold. That was, of course, a cheap variant intended for lower class. Royal death masks were made from precious metals, first of all - gold or gold leaves on bronze. One of the most famous funerary masks is the mask of the Tutankhamen. All death masks were made to resemble deceased but with a slightly enlarged eyes and a faint smile and also showed fashion of the moment with painted jewelry and makeup. These death masks later evolved into a full body inner coffins in the human shape with same decorations and ornaments.
Ritual masks were worn by priests during rituals. Those masks were also made from cartonnage and then painted. They were made in the likeness of animal heads, heads of gods of ancient Egypt. Head of Anubis, god of death with a head of a jackal, was worn during funeral ceremonies such is “Opening of the Mouth” which was a symbolic animation of a mummy. Priest would wear a mask on his head and it would cover his shoulders. Head of the mask was also taller than a priest’s head so he was constrained to look through two small holes on the neck of the mask. Other gods and goddesses also had their masks. Religion in the Ancient Egypt was very important. Temples were places where gods lived and statues of gods were gods themselves. Everything considering the religion was shrouded in mystery. Priest who wore a mask of a god during a ceremony would become an avatar of god, an embodiment of god himself. Priest would speak his words and convey his will.
The famous funerary mask of Tutankhamun in Gold, semiprecious stones, quartz and glass paste
Many people interested in Egypt are familiar with funerary masks, used to cover the face of a mummy. An example, of course, is the famous funerary mask of Tutankhamun now in the Egyptian Antiquities Museum in Cairo, though certainly most funerary masks were not made of solid gold. However, living persons in ancient Egypt might have employed transformational spells to assume nonhuman forms. Specifically, masked priests, priestesses or magicians, disguising themselves as divine beings such as Anubis or Beset, almost assuredly assumed such identities to exert the powers associated with those deities. Funerary masks and other facial coverings for mummies emphasized the ancient Egyptian belief in the fragile state of transition that the dead would have to successfully transcend in their physical and spiritual journey from this world to their divine transformation in the next. Hence, whether worn by the living or the dead, masks played a similar role of magically transforming an individual from a mortal to a divine state.
Funerary Mask of Undjebauendjed from the 21st Dynasty reign of Psusennes I
On various artifacts, we find numerous examples in art, beginning with the Predynastic palettes (such as the Two-Dog palette), representations of anthropomorphic beings with the heads of animals, birds or other fantastic creatures. Some of these are understood to have probably been humans dressed as deities, though the ancient Egyptians probably saw them as images or manifestations of the gods themselves. This was probably most evident in three dimensional representations such as the Middle Kingdom female figure from Western Thebes (modern Luxor), now in the collection of the Manchester Museum and sometimes referred to in earlier texts as a leonine-masked human. Though most certainly a human dressed as an animal, this figure was surely considered an image of Beset.
Two dimensional depictions are more difficult to interpret. The question of the extent to which these depicted masks were used in Egyptian religious rituals has not yet been satisfactorily resolved for all periods of ancient Egyptian history. This may be due to intentional ambiguity. An example is one very common depiction rendered in many mortuary scenes that records the mummification of a body by a jackal-headed being. Such representations may document the actual mummification rites performed by a jackal-disguised priest, though it may also be interpreted as commemorating that episode of the embalmment by the jackal god Anubis in the mythic account of the death and resurrection of the god of the dead, Osiris, whom the deceased wished to emulate. Another example is a ritual procession of composite animal and human figures, identified in the accompanying texts, as the souls of Nekhen and Pe, who carry the sacred bark in a procession detailed on the southwestern interior wall of the Hypostyle Hall in the Temple of Amun at Karnak. Scenes such as this may either be literal records of the historic celebration performed by masked or costumed priests, or alternatively they may represent a visual actualization of faith in the royal dogma, which claimed categorically that the mythic ancestors of the god-king legitimized and supported his reign.
Female funerary mask made of plaster and discovered at Tuna
Irregardless, it is thought that the ancient Egyptians did in fact perform some ritual ceremonies wearing such masks, though these ritual objects from the archaeological record are rare. Perhaps this is due to the fragile and perishable materials from which such masks may have been constructed (though surely some were made from gold, thought to be the skin of the gods). We do have an example of a fragmentary Middle Kingdom Bes-like or Aha (perhaps an ancient god and forerunner of Bes) face of cartonnage recovered by W.M. Flinders Petrie at the town site of Kahun. However, this relic may not have been a mask even though it does appear to have eye holes. There was also an unusual set of late Middle Kingdom objects found in shaft-tomb 5 under the Ramesseum that included a wooden figurine representing either a lion-headed goddess or a woman wearing a similar kind of mask, which probably connected in some way with the performance of magic. However, the only incontrovertible evidence for the use of ritual masks by the living are found from Egypt's Late Period. From that time, for example, we have a unique, ceramic mask of the head of the jackal god, Anubis (now in the collection of the Roemer Pelizaeus- Museum, Hildesheim), dating to sometime after 600 BC, which was apparently manufactured specifically as a head covering. This mask has indentations on both sides which would have allowed it to be supported atop the shoulders. The snout and upraised ears of the jackal head would have surmounted the wearers actual head. Two holes in the neck of the object would have allowed the wearer to view straight ahead. However, lateral vision would have been limited, thus necessitating the wearer's need for assistance, as explicitly depicted in a temple relief at Dendera. In this depiction, the priest wears just such a mask, and is assisted by a companion priest. A description of a festival procession of Isis, which was led by the god Anubis, who was presumably a similarly masked priest, took place not in Egypt but rather in Kenchreai.
The Gold mask of Psusennes I from the 21st Dynasty
Funerary masks had more than one purpose. They were a part of the elaborate precautions taken by the ancient Egyptians to preserve the body after death. The protection of the head was of primary concern during this process. Thus, a face covering helped preserve the head, as well as providing a permanent substitute, in an idealized form which presented the deceased in the likeness of an immortal being, in case of physical damage. Those of means were provided with both a mask with gilt flesh tones and blue wigs, both associated with the glittering flesh and the lapis lazuli hair of the sun god. Specific features of a mask, including the eyes, eyebrows, forehead and other features, were directly identified with individual divinities, as explained in the Book of the Dead, Spell 151b. This allowed the deceased to arrive safely in the hereafter, and gain acceptance among the other divine immortals in the council of the great god of the dead, Osiris. Though such masks were initially made for only the royalty, later such masks were manufactured for the elite class for both males and females.
Beginning in the 4th Dynasty, attempts were made to stiffen and mold the outer layer of linen bandages used in mummification to cover the faces of the deceased and to emphasize prominent facial features in paint. The forerunners of mummy masks date to this period through the 6th Dynasty, taking the form of thin coatings of plaster molded either directly over the face or on top of the linen wrappings, perhaps fulfilling a similar purpose to the 4th Dynasty reserve heads.A plaster mold, apparently taken directly from the face of a corpse, was excavated from the 6th Dynasty mortuary temple of Teti, though unfortunately, this is thought to date to the Greco-Roman period.
A funerary mask from the Middle Kingdom, made of stuccoed and painted linen
The very earliest masks were experimentally crafted as independent sculptural work, and have been dated to the Herakleopolitan period (late First Intermediate Period). These early masks were made of wood, fashioned in two pieces and held together with pegs, or cartonnage (layers of linen or papyrus stiffened with plaster. They were molded over a wooden model or core. The masks of both men and women had over-exaggerated eyes and often enigmatic half smiles. These objects were then framed by long, narrow, tripartite wigs held securely by a decorated headband. The "bib" of the mask extended to cover the chest, and were painted for both males and females with elaborate beading and floral motif necklaces or broad collars that served not only an aesthetic function but also an apotropaic requirement as set out in the funerary spells. Hollow and solid masks (sometimes of diminutive size) were also built by pouring clay or plaster into generic, often unisex molds. To this, ears and gender specific details were than added. These elongated masks eventually evolved into anthropoid inner coffins, first appearing in the 12th Dynasty.
Masks became increasingly more sophisticated during the New Kingdom and Third Intermediate Period. These later masks made for royalty were beaten from precious metals. Of course, an obvious example of such is the solid gold mask of Tutankhamun, though we also have fine gold and silver specimens from Tanis.
Funerary Mask of Tuyu now in the Egyptian Museum and dating from the reign of Amenhotep III
However, masks of all types were embellished with paint, using red for the flesh tones of males and yellow, pale tones for females. Added to this were composite, inlaid eyes or eyebrows, as well as other details that could elevate the cost of the finished product considerably. Hence, indications of social status, including hairstyles, jewelry and costumes (depicted on body-length head covers) are often helpful in dating masks. However, the idealized image of transfigured divinity, which was the objective of the funerary masks, precluded the individualization of masks to the point of portraiture. The results are that we have a relative sameness in these objects with anonymous facial features from all periods of Egyptian history.
The use of face coverings for the dead continued in Egypt for as long as mummification was practiced in Egypt. Regional preferences included cartonnage and plaster masks, both of equal popularity during the Ptolemaic (Greek) period. The cartonnage masks became actually only one part of a complete set of separate cartonnage pieces that covered the wrapped body. This set included a separate cartonnage breastplate and foot case. During the Roman period, plaster masks exhibit Greco-Roman influence only in their coiffures, which were patterned from styles current at the imperial court. This included both beards and mustaches for males, and elaborate coiffures on women, all highly molded in relief.
Fayoum style portrait panel dating to the first half of the 2nd century AD
However, during the Roman period there were alternatives to the cartonnage or plaster mask. Introduced during this period were the so-called Fayoum portraits, which were initially unearthed from cemeteries in the Fayoum and first archaeologically excavated in 1888 and between 1910 and 1911 by Flinders Petrie at Hawara. Since then, they have been discovered at sites throughout Egypt from the northern coast to Aswan in the south. These were paintings made with encaustic (colored beeswax) or tempera (watercolor) on wooden panels or linen shrouds and were rendered in a Hellenistic style not unlike contemporary frescoes discovered at Pompeii and Herculaneum in Italy. Nevertheless, it is believed that such two-dimensional paintings held the same ideological function as traditional three-dimensional masks. However, these portraits were popular among nineteenth and early twentieth century collectors and this had a tendency to at first isolate them from their funerary contexts. They were studied by classicists and art historians who, basing their conclusions on details in the paintings along, such as hairstyles, jewelry and costume, identified the portraits as being those of Greek or Roman settlers who had adopted Egyptian burial customs. In fact, successful attempts have been made, based on the analysis of brush strokes and tool marks and the distinctive rendering of anatomical features, to group these portraits according to schools and to identify some individual artistic hands.
Fayoum portrait of a young boy rendered in wax paint on wood and dating to the 1st or early 2nd century AD
However, though the portraits do appear at first to capture the unique features of specific individuals, it appears likely that only the earliest examples were painted from live models. Studies have indicated that the same generic quality that permeates the visages of the cartonnage and plaster masks persists within the group of Fayoum portraits that have been preserved and therefore we believe that they served in a similar fashion as the earlier masks.
There may also be evidence for a cultic use of these paintings while their owners still lived. The fact that the upper corners of some of these panels were cut at an angle to secure a better fit before being positioned over the mummy, that there are signs of wear on paintings in places that would have been covered by the mummy wrappings, and that at least one portrait (now in the British Museum was discovered at Hawara still within a wooden frame indicates that the paintings had a domestic use prior to inclusion within the funerary equipment. They may have been hung in the owners home prior to such use.
Yet the iconographic elements, including gilded lips in accordance with the funerary spells 21 through 23 of the Book of the Dead to insure the power of speech during the afterlife, as well as the allusions to traditional deities, such as the sidelock of Horus worn by adolescents, the pointed star diadem of Serapis worn by men, and the horned solar crown of Isis worn by adult females, together with other evidence, emphasize a continuity of native Egyptian traditions. Though the product of the Hellenistic age of Roman Egypt, they date from the end of a continuum of a desire to permanently preserve the faces of the dead in an idealized and transfigured form that began in the Old Kingdom and lasted to the end of pagan Egypt.
The last examples we have of funerary masks are actually painted linen shrouds of which the upper part was pressed into a mold to produce the effect of a three dimensional plaster mask. Some examples of this type of object may date as late as the third of fourth century AD. First unearthed by Edouard Naville within the sacred precinct of the mortuary chapel of Queen Hatshepsut, they were initially and incorrectly identified by him as the mummies of early Christians. However, later analysis by H. E. Winlock, particularly noting the ubiquitous representation of the bark of the Egyptian funerary god Sokar, correctly identified these as further examples of masks consistent with pagan Egyptian funerary traditions, even though certain motifs, such as the cup held in one hand, seem to present the final transition from pagan mask to Coptic icon painting and the portraits of Byzantine saints.
Funerary mask of Amenemope from the 21st Dynasty reign of Amenemope rendered in gold leaf on bronze
Funerary mask of Amenemope from the 21st Dynasty reign of Amenemope rendered in gold leaf on bronze
Plaster funerary mask from the Old Kingdom of Ancient Egypt, 4th or 5th dynasty. Located in the Egyptian Museum of Berlin
Ptolemaic mummy mask depicting various gods; 306-30 BC.;
Berlín. Neues Museum, máscara funeraria egipcia en cartonnage
Sargmaske der Königin Teje, Neues Reich, 18. Dynastie, um 1345 v. Chr.; Holz, Gold und Glas; Inv.-Nr. VÄGM 112-92 - Ägyptisches Museum Berlin/Altes Museum
Mena: Out of 900 Fayum portraits only 200 are exposed in museums around the world. Most of the Fayum portraits in museum are the portraits of mulato Romans. I think hundred of Fayum portraits not shown are the portraits of black Romans.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.
Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. "Faiyum Portraits" is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period on time of the Roman occupation of Egypt.[1]
They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
The portraits covered the faces of bodies that were mummified for burial. Extant examples indicate that they were mounted into the bands of cloth that were used to wrap the bodies. Almost all have now been detached from the mummies.[2] They usually depict a single person, showing the head, or head and upper chest, viewed frontally. In terms of artistic tradition, the images clearly derive more from Graeco-Roman traditions than Egyptian ones.[3]
Two groups of portraits can be distinguished by technique: one of encaustic (wax) paintings, the other in tempera. The former are usually of higher quality.
About 900 mummy portraits are known at present.[4] The majority were found in the necropoleis of Faiyum. Due to the hot dry Egyptian climate, the paintings are frequently very well preserved, often retaining their brilliant colours seemingly unfaded by time.
Between 1887 and 1889, the British archaeologist W.M. Flinders Petrie turned his attention to the Fayum, a sprawling oasis region 150 miles south of Alexandria. Excavating a vast cemetery from the first and second centuries A.D., when imperial Rome ruled Egypt, he found scores of exquisite portraits executed on wood panels by anonymous artists, each one associated with a mummified body. Petrie eventually uncovered 150.
The images seem to allow us to gaze directly into the ancient world. “The Fayum portraits have an almost disturbing lifelike quality and intensity,” says Euphrosyne Doxiadis, an artist who lives in Athens and Paris and is the author of The Mysterious Fayum Portraits. “The illusion, when standing in front of them, is that of coming face to face with someone one has to answer to—someone real.”
By now, nearly 1,000 Fayum paintings exist in collections in Egypt and at the Louvre, the British and Petrie museums in London, the Metropolitan and Brooklyn museums, the Getty in California and elsewhere.
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For decades, the portraits lingered in a sort of classification limbo, considered Egyptian by Greco-Roman scholars and Greco-Roman by Egyptians. But scholars increasingly appreciate the startlingly penetrating works, and are even studying them with noninvasive high-tech tools.
At the Ny Carlsberg Glyptotek museum in Copenhagen, scientists recently used luminescence digital imaging to analyze one portrait of a woman. They documented extensive use of Egyptian blue, a copper-containing synthetic pigment, around the eyes, nose and mouth, perhaps to create shading, and mixed with red elsewhere on the skin, perhaps to enhance the illusion of flesh. “The effect of realism is crucial,” says the museum’s Rikke Therkildsen.
Stephen Quirke, an Egyptologist at the Petrie museum and a contributor to the museum’s 2007 catalog Living Images, says the Fayum paintings may be equated with those of an old master—only they’re about 1,500 years older.
Doxiadis has a similar view, saying the works’ artistic merit suggests that “the greats of the Renaissance and post-Renaissance, such as Titian and Rembrandt, had great predecessors in the ancient world.”
Africa | Mask "kore" from the Marka people of Mali | wood, dark brown patina, indigo blue pigment, sheet metal and red dyed fiber | All along the Niger this mask type is used for ceremonies associated with fishing and agriculture
Africa | Chikunza ~ Makishi ~ mask from the Chokwe people of Angola/Zambia | Paint, resin, fabric, wood and rope. | The makishis all represent ancestor spirits and are associated with human fertility, abundance of natural resources and prosperity. This mask performs at male initiation ceremonies on behalf of the initiates and the village that hosts the initiation
Africa | Mask from the Bamileke people of Cameroon | Horn, vegetal fiber, cowrie shells, human hair and textile || The kunggang of the Bamileke belong to an important association of healers and headmen, and for the purification of villages. They represent the power of intervention against sorcery
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Africa | Guro (Guru, Kweni) Mask from the Ivory Coast | Wood and Pigments | Masks carved by the Guro were often recognisable images of living people and were ordered for specific ceremonies and rituals
Cameroon mask
Bakuba mask
The Punu people reside along the banks of Upper Ngoume River in Gabon. Punu masks stand out from other African masks due to their Oriental appearance. The masks are representative of the idealized beauty of Punu women
Africa | 'Cimier' Face mask from the Tikar people of Cameroon. | Bronze and Raffia | Early 20th century
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Anubis masks mask of Anubis. ancient Egypt. Anubis is the Greek name of a jackal-headed god associated with mummification and the afterlife in ancient Egyptian religion. Like many ancient Egyptian deities, Anubis assumed different roles in various contexts. Depicted as a protector of graves as early as the First Dynasty (c. 3100 – c. 2890 BC), Anubis was also an embalmer. One of his prominent roles was as a god who ushered souls into the afterlife.
eramic Anubis mask, one of the only surviving helmet masks from Egypt, it weighs about 17 lbs. and dates from ca.600 BCE. The two holes below the head are eye-holes for the priest who wore it | Hildesheim Pelizaeus-Museum
Mask of a Mummy,H. 45 cm. Cartonnage, polychromy. Egypt, Ptolemaic Period, ca. 1st cent. B.C.
Egyptian mask | From the late Greco-Roman period
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ook of Italian Costumes (image 5) | Niclauss Kippell & Léon Gruel | Italy; Venice | 1588 | paper with tempera & ink bound between brown mosaic & red morocco | Walters Art Museum | Accession #: W.477
A Masked Lady by Carlevarijs, 1700-10
Arlecchino's full costume parts and mask.
The Moretta or Servetta Muta (trans: dumb maid-servant) is a black velvet, oval shaped mask that was worn by Venetian ladies. Covering all but the outer edge of the face, the Moretta was secured to the wearer by way of a small bit that was held in place by the teeth. By the 18th centaury the use of the Bauta and Moretta masks to conceal the identity of ladies and gentlemen in the gambling houses (Il Ridotti) of Venice had become commonplace.
During the plague doctors wore this bird-like mask. The beak was filled with a potpourri mixture that was believed to protect the wearer from the plague
Vengeance is Sworn Francesco Hayez, 1851 (italian airtist born in Murano, Venice)
The original elements of the Bauta disguise comprises of the typically shining white face-shaped mask ("larva" or "volto"), a black cape or veil of silk, a cloak (tabarro) or mantle, and a three-cornered ("tricorne") hat. The Bauta was worn by both Venetian ladies and gentlemen alike.
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Aztec Three Faced Mask. c1300AD... "The three faces depict three phases in which human time. The central face is jovial and full of the vigor of youth, referring to the time when individuals are during their most productive in a society. The exterior mask has closed eyes, alluding to the opposite phase, death. In between is a period of no less importance, the state that arrives with experience: old age."
Yupik Face Mask late 19th century, Alaska Wood, pigment H. 7 7/8 x W. 5 3/8 in. (20 x 13.7 cm) Collected in late 19th century by Bishop Farhout, MacKenzie River area; by descent, his family, Paris, until after 1945; [John J. Klejman, New York, after 1945–until ca. 1960]; Ralph T. Coe, Santa Fe, NM, ca. 1960–(d.) 2010; Ralph T. Coe Foundation for the Arts, 2010–2011 The Metropolitan Museum of Art, NYC
Tucson Arizona,gourd art,gourd masks,gourds,hand painted gourds,gourd art,Gourd Mask,Native American Mask
Native American Shaman Mask.
Native American Mask - Iroquois False face mask, reproduction 13w
Decorating the Indian masks was a very important part of mask making. Eyes and eyebrows were usually painted black, the hair was made of straw and often
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