Asia

The Asian collection comprises 1,413 inventory items, dating from the 18th century to the present day. It is notable for its wealth of theatre masks, but also for a remarkable collection of puppets representing deities, demons, spirits, legendary heroes, monsters and animals.

On such a vast continent, each region has developed its own traditions and cultural specificities. However, certain mythological tales and epics, such as the Ramayana and the Mahabharata, are found in a multitude of countries (India, Burma, Indonesia, Cambodia, Laos, the Philippines, Sri Lanka, etc.). The aesthetics of masks and their representation vary according to religious or spiritual contexts, whether Hindu, Buddhist, Muslim or animist.

Theatrical performances, often centred on the struggle between good and evil, convey aesthetic, moral, social and historical values specific to each culture. Alongside them, lighter characters such as jesters entertain the audience with their comical lines and burlesque gestures — essential in these performances, which can last several hours.

Although presented here according to their continent of origin, these pieces come together in our exhibition in a decidedly thematic way, inviting new dialogues between cultures and a cross-cultural reading of masked practices around the world.

Made by Michishige Udaka, a mask sculptor and Noh theatre actor, this mask with deep wrinkles and laughing eyes depicts one of the oldest characters in Noh theatre. It is the embodiment of a god in the body of an old man, Hakushiki-jô. This kami (Shinto deity) symbolises peace and always plays the leading role in Okina plays. These masks, considered sacred, have ancient origins, predating Noh theatre. From the 12th century onwards, the Dance of the Old Man guaranteed human longevity and abundant harvests.

Hanuman is the king (or general of the army) of the monkeys. He is renowned for his knowledge, agility, speed and loyalty to Rama. He helps him in his quest to find Princess Sita and comes to his aid in his fight against Ravana. This mask is used in Ramlila, a popular Indian dramatic performance recounting some of the exploits of the Ramayana epic, one of the two great sacred texts of India.

Wayang Golek is a theatrical art form performed with wooden puppets, depicting the Hindu epics Ramayana and Mahabharata as well as various local legends.

This elegantly dressed female character with delicate features represents a Princess. The “good” characters in Wayang Golek are distinguished from the “bad” by their fine features, the latter generally having fangs, warts and imperfections that accentuate their ferocity.

Wayang Golek is performed in a theatre known as a panggung, made up of two banana trunks that delimit the stage and into which unused puppets are stuck, with the good characters on the right and the bad on the left. Its repertoire can also be inspired by the Menak cycle which is of Islamic origin.