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3 September 2010 

There are not many societies, ancient or modern, in which masks are unknown, for their use springs from instinctive beliefs common to all mankind. The ancient Latin word for mask, "persona", literally indicates "false face", an aspect of the personality shown to or perceived by others. Masks are not merely great or minor works of art; their main purpose is to express the human elements which they constitute and the message which they carry. The functions of masks might be indicated in general: to evoke certain reactions in the beholder, for instance, awe of the god represented, fear in an enemy, or ecstasy in possession or trance; to cure disease in men, cattle, and crops by impersonating the supernatural power; to represent religious totems; to emphasize social wrongs by enacting the role of wrongdoer or by satire and buffoonery.

A land rich in myths, legends, and folklore centred around idolized deities, valiant heroes, and fierce demons, India has produced a range of decorative, festive, and ceremonial masks. This artistic tradition is still vibrantly alive all over the country, and offers a varied repository of cultural manifestations, though with an underlying similarity of themes and subjects.

There are three types of masks with different purposes: ritual masks, war and monstrous masks, and masks for tribal and folk performances at the time of festivals. However, all masks are ritual in origin. In India the earliest known are the terracotta masks excavated in the settlements of the Indus Valley civilization. They are of various sizes, provided with lateral holes for fixing on walls or movable supports.

Perhaps the earliest known masks still in use are the bronze mohras of the northern hills. In Himachal Pradesh the cult of mohras is apparently much older than the cult of icons. The casting of these mohras with iconographic and stylistic features was established by the sixth century. Another unique group from this region are the wooden masks from Kannaur village in Chamba.

Kirtimukha was a demon created by Shiva to destroy Rahu. The grotesque yet smiling face, resembling a lion with inflated cheeks, is a mask, emanating its protective power over all those who come into its presence. This forceful visage, an architectural motif seen over the entrance of many temples in India, signifies the commencement of all things good and serves as a challenge to those who have ulterior motives.

Among the older mask traditions of south India are those of the Bhuta tribe of Karnataka, and those used for traditional dance performances in Kerala. Various mythological characters in Kathakali are distinctive, employing dramatic facial colouring for the transformation of human dancer-actors into suras (gods) and asuras (demons).

In the north-eastern states, Buddhist tribes use masks for dance and pantomime. This custom can be traced from about the sixteenth century when monks from the Tawang monastery in present-day Arunachal Pradesh propagated Buddhist philosophy in that region. A number of mask dances in the trans-Himalayan style are regularly performed during Buddhist festivals and ceremonies, as well as for recreation and amusement. Masks are also integral to the magico-religious practices prevalent among the different tribes in this region.

Some of the best examples from Bengal come from the jungle Rabhas in Jalpaiguri district. There are three types of masks – each has a distinct name, is made of a different material, and represents a particular character: Char-gog, the mask of the goddess Chandi, a fearful deity, is made of bamboo strips. The mask is used in the religious dance performed following Kali Puja. After the performance, the mask is cut into pieces and thrown in the river for fear of incurring the displeasure of the goddess. Char-pagal is made of wood in the form of a human face and is also used during Kali Puja. Maper-char is made of gourd shell, with the face of a bear painted on the upper surface. Bera-masked performers collect contributions from the villagers who willingly donate to ward off attacks from this fierce animal which destroys their crops.

Chhau, now a popular dance form, originated in medieval times in Saraikela, southern Bihar. Masks are an essential part of a Chhau performance and mask-making has been a hereditary trade. Over the generations the masks have become more stylized. Originally made of wood, then bamboo and pumpkin-shells, at present they are made of papier mache.

In Gujarat and Maharashtra, masks are very popular among the Kukana and Warli tribes, respectively. They usually portray animals, birds, gods and goddesses, as well as demons and ghosts, and are generally employed in dances and dramas on religious or mythological themes. During Holi and Divali, mask shows are organized by itinerant tribal artists. The popular mask of Ravana, the evil king and villain in the Ramayana, has an arch-shaped framework of bamboo strips decorated with multicoloured paper, with the ten colourful clay or papier-mache heads affixed across the bottom of the arch. Painting of the masks is not merely to enrich their appearance but is a means by which the spirit of that character is infused into the mask, bringing it to life.

Yet other states where papier-mache masks are most prevalent are Madhya Pradesh, Uttar Pradesh, and Orissa, with regional variations. Favourites are the Ramayana characters. These masks are used for enactment of the Ramlila during Navaratra – the nine auspicious nights in the month of Asuja (September-October), concluding on the day of the Dussehra festival.

The tradition of masks is still very much with us today, though a large number are now made for the handicrafts market, rather than for the ritual and entertainment purposes which they originally served. Still, whether of wood, metal or fabric, they are a means of escape, they mystify, they fascinate.