Shadows Alter Facial Expressions of Noh Masks
Identifieur interne : 000541 ( Main/Exploration ); précédent : 000540; suivant : 000542Shadows Alter Facial Expressions of Noh Masks
Auteurs : Nobuyuki Kawai [Japon] ; Hiromitsu Miyata [Japon] ; Ritsuko Nishimura [Japon] ; Kazuo Okanoya [Japon]Source :
- PLoS ONE ; 2013.
Abstract
A Noh mask, worn by expert actors during performance on the Japanese traditional Noh drama, conveys various emotional expressions despite its fixed physical properties. How does the mask change its expressions? Shadows change subtly during the actual Noh drama, which plays a key role in creating elusive artistic enchantment. We here describe evidence from two experiments regarding how attached shadows of the Noh masks influence the observers’ recognition of the emotional expressions.
In Experiment 1, neutral-faced Noh masks having the attached shadows of the happy/sad masks were recognized as bearing happy/sad expressions, respectively. This was true for all four types of masks each of which represented a character differing in sex and age, even though the original characteristics of the masks also greatly influenced the evaluation of emotions. Experiment 2 further revealed that frontal Noh mask images having shadows of upward/downward tilted masks were evaluated as sad/happy, respectively. This was consistent with outcomes from preceding studies using actually tilted Noh mask images.
Results from the two experiments concur that purely manipulating attached shadows of the different types of Noh masks significantly alters the emotion recognition. These findings go in line with the mysterious facial expressions observed in Western paintings, such as the elusive qualities of Mona Lisa’s smile. They also agree with the aesthetic principle of Japanese traditional art “
Url:
DOI: 10.1371/journal.pone.0071389
PubMed: 23940748
PubMed Central: 3737093
Affiliations:
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Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Nagoya, Japan</addr-line></nlm:aff><country xml:lang="fr">Japon</country><wicri:regionArea>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Nagoya</wicri:regionArea><wicri:noRegion>Nagoya</wicri:noRegion></affiliation><affiliation wicri:level="1"><nlm:aff id="aff2"><addr-line>Graduate School of Information Science, Nagoya University, Nagoya, Japan</addr-line></nlm:aff><country xml:lang="fr">Japon</country><wicri:regionArea>Graduate School of Information Science, Nagoya University, Nagoya</wicri:regionArea><wicri:noRegion>Nagoya</wicri:noRegion></affiliation></author><author><name sortKey="Miyata, Hiromitsu" sort="Miyata, Hiromitsu" uniqKey="Miyata H" first="Hiromitsu" last="Miyata">Hiromitsu Miyata</name><affiliation wicri:level="1"><nlm:aff id="aff1"><addr-line>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Nagoya, Japan</addr-line></nlm:aff><country xml:lang="fr">Japon</country><wicri:regionArea>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Nagoya</wicri:regionArea><wicri:noRegion>Nagoya</wicri:noRegion></affiliation><affiliation wicri:level="1"><nlm:aff id="aff2"><addr-line>Graduate School of Information Science, Nagoya University, Nagoya, Japan</addr-line></nlm:aff><country xml:lang="fr">Japon</country><wicri:regionArea>Graduate School of Information Science, Nagoya University, Nagoya</wicri:regionArea><wicri:noRegion>Nagoya</wicri:noRegion></affiliation></author><author><name sortKey="Nishimura, Ritsuko" sort="Nishimura, Ritsuko" uniqKey="Nishimura R" first="Ritsuko" last="Nishimura">Ritsuko Nishimura</name><affiliation wicri:level="1"><nlm:aff id="aff1"><addr-line>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Nagoya, Japan</addr-line></nlm:aff><country xml:lang="fr">Japon</country><wicri:regionArea>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Nagoya</wicri:regionArea><wicri:noRegion>Nagoya</wicri:noRegion></affiliation></author><author><name sortKey="Okanoya, Kazuo" sort="Okanoya, Kazuo" uniqKey="Okanoya K" first="Kazuo" last="Okanoya">Kazuo Okanoya</name><affiliation wicri:level="1"><nlm:aff id="aff3"><addr-line>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology (ERATO), Japan Science and Technology Agency (JST), Wako, Japan</addr-line></nlm:aff><country xml:lang="fr">Japon</country><wicri:regionArea>Okanoya Emotional Information Project (OEIP), Exploratory Research for Advanced Technology 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How does the mask change its expressions? Shadows change subtly during the actual Noh drama, which plays a key role in creating elusive artistic enchantment. We here describe evidence from two experiments regarding how attached shadows of the Noh masks influence the observers’ recognition of the emotional expressions.</p></sec><sec><title>Methodology/Principal Findings</title><p>In Experiment 1, neutral-faced Noh masks having the attached shadows of the happy/sad masks were recognized as bearing happy/sad expressions, respectively. This was true for all four types of masks each of which represented a character differing in sex and age, even though the original characteristics of the masks also greatly influenced the evaluation of emotions. Experiment 2 further revealed that frontal Noh mask images having shadows of upward/downward tilted masks were evaluated as sad/happy, respectively. This was consistent with outcomes from preceding studies using actually tilted Noh mask images.</p></sec><sec><title>Conclusions/Significance</title><p>Results from the two experiments concur that purely manipulating attached shadows of the different types of Noh masks significantly alters the emotion recognition. These findings go in line with the mysterious facial expressions observed in Western paintings, such as the elusive qualities of Mona Lisa’s smile. They also agree with the aesthetic principle of Japanese traditional art “<italic>yugen</italic> (profound grace and subtlety)”, which highly appreciates subtle emotional expressions in the darkness.</p></sec></div></front><back><div1 type="bibliography"><listBibl><biblStruct></biblStruct><biblStruct></biblStruct><biblStruct></biblStruct><biblStruct><analytic><author><name sortKey="Nishimura, R" uniqKey="Nishimura R">R Nishimura</name></author><author><name sortKey="Okanoya, K" uniqKey="Okanoya K">K Okanoya</name></author><author><name sortKey="Kawai, N" uniqKey="Kawai N">N Kawai</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Lyons, Mj" uniqKey="Lyons M">MJ Lyons</name></author><author><name sortKey="Campbell, R" uniqKey="Campbell R">R Campbell</name></author><author><name sortKey="Plante, A" uniqKey="Plante A">A Plante</name></author><author><name sortKey="Coleman, M" uniqKey="Coleman M">M Coleman</name></author><author><name sortKey="Kamachi, M" 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Nobuyuki" uniqKey="Kawai N" first="Nobuyuki" last="Kawai">Nobuyuki Kawai</name></noRegion><name sortKey="Kawai, Nobuyuki" sort="Kawai, Nobuyuki" uniqKey="Kawai N" first="Nobuyuki" last="Kawai">Nobuyuki Kawai</name><name sortKey="Miyata, Hiromitsu" sort="Miyata, Hiromitsu" uniqKey="Miyata H" first="Hiromitsu" last="Miyata">Hiromitsu Miyata</name><name sortKey="Miyata, Hiromitsu" sort="Miyata, Hiromitsu" uniqKey="Miyata H" first="Hiromitsu" last="Miyata">Hiromitsu Miyata</name><name sortKey="Nishimura, Ritsuko" sort="Nishimura, Ritsuko" uniqKey="Nishimura R" first="Ritsuko" last="Nishimura">Ritsuko Nishimura</name><name sortKey="Okanoya, Kazuo" sort="Okanoya, Kazuo" uniqKey="Okanoya K" first="Kazuo" last="Okanoya">Kazuo Okanoya</name><name sortKey="Okanoya, Kazuo" sort="Okanoya, Kazuo" uniqKey="Okanoya K" first="Kazuo" last="Okanoya">Kazuo Okanoya</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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