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However, ten volunteers in Nara, who were concerned about their dissipation, established a group called \"Teirakusha,\" through which they have preserved and protected them together. The Noh masks, which were created in the Muromachi period, are full of formative charm and are of excellent quality. \nThe Konparu-za is one of the four Yamato Sarugaku Za (guild of actors performing Sarugaku, which is the original form of Noh) that used to perform Takigi Sarugaku (Sarugaku performed at night by torches) at the Wakamiya Festival of Kasuga Taisha Shrine and at Kofukuji in Nara during the Northern and Southern Courts period. The four Yamato Sarugaku Za are comprised of Yuzaki-za (later name: Kanze-za), Tobi-za (Hosyo-za), Sakato-za (Kongo-za) and Emai-za (Konparu-za). The Yamato Sarugaku Za originated from a guild of actors performing Okina Sarugaku, which was performed to pray for or celebrate good harvests at festivals. Later, the performers of Okina Sarugaku and those of Noh were separated, leading to the formation of four Yamato Sarugaku Za comprised only of Noh performers.\nWhile Kanami and Zeami led the Kanze-za, the Konparu-za was led by Konparu Zenchiku (1405-1470?) and his grandson Konparu Zenpo (1454 – 1532?). The Konparu-za prospered most during the Azuchi-Momoyama period, when Konparu Ansho (1549 – 1621) led the group as a retained actor of Toyotomi Hideyoshi. \n","@language":"en"},{"@value":"这组作品为47张能面具，源于“能”（日本独有佩戴面具演出的一种古典歌舞剧）的主角流派宗家奈良金春家（konparuke）。\n  这些面具于明治初年离开金春家，与装束、小道具一同被暂时寄存在春日神社中，其后居住在奈良的志同道合者约10人因担忧其会散逸，而成立了名为谛乐舍的组织对此加以保护。能面具在造型上极富魅力，很多佳作的制作年代甚至可以追溯至室町时代。\n  金春座是南北朝时代，担任奈良春日大社的若宫祭典、兴福寺的薪猿乐表演的大和猿乐四座“结崎座(观世座) 、外山座(宝生座) 、坂户座(金刚座)、圆满井座(金春座)”之一。原本是作为在祭典时扮演祈愿庆祝五谷丰登等的翁猿乐的剧团（座）而兴起的，随后扮演翁猿乐及能的演员开始分工，大和猿乐四座均由能演员占据。\n    与观阿弥、世阿弥所领导的观世座相对，金春禅竹(1405-70？)及其孙金春禅凤(1454-1532？)等支撑起了金春座，安土桃山时代为其鼎盛时期。金春安照(1549-1621)作为丰臣秀吉的御用演员活跃在当时的舞台。\n","@language":"zh"},{"@value":"시테가타 노의 종가인 나라의 곤파루가에 전래된 47개의 노 가면이다.\n메이지 초기 경 곤파루가에서 장속과 소도구와 함께 가스가 신사에 당분간 맡겨졌으나, 나중에 나라에 사는 10명 정도의 유지가 소실될까 염려되어 데이라쿠샤라는 모임을 만들어 보호해 왔다. 노의 가면은 조형적인 매력이 넘치며, 제작 시기는 무로마치 시대로 거슬러 올라가는 훌륭한 작품이 많다.\n곤파루좌는 남북조 시대에 나라 가스가 대사의 와카미야 마츠리, 고후쿠지의 다키기사루가쿠를 담당했던 야마토사루가쿠욘좌＜유자키자(간세좌), 도비자(호쇼좌), 사카도자(곤고좌), 엔마이자(곤파루자)＞ 중의 한 좌이다. 본래는 마츠리 때 오곡풍요를 기원하여 축하하는 오키나사루가쿠를 연기하기 위한 좌로서 시작되었으나, 오카나사루가쿠와 노를 연기하는 배우가 분리되어 야마토사루가쿠욘좌의 각 좌의 노 연기자가 되었다.\n관아미, 세아미의 관세좌에 대해서는 곤파루 젠치쿠(1405‐70？)와 손자인 곤파루 젠보(1454‐1532？) 등이 곤파루좌를 유지했다. 가장 번성했던 시기는 아즈치모모야마 시대이다. 도요토미 히데요시 전속 배우인 곤파루 야스테루(1549－1621)가 활약했다.\n","@language":"ko"}],"thumbnail":{"@id":"https://emuseum.nich.go.jp/img/content/100431017002/2/thumbnail.jpeg","@type":"dctypes:Image","height":200,"width":156},"viewingHint":"individuals","viewingDirection":"","license":"https://emuseum.nich.go.jp/about","attribution":[{"@value":"独立行政法人国立文化財機構","@language":"ja"},{"@value":"National Institutes for Cultural Heritage","@language":"en"},{"@value":"国立文化财机构","@language":"zh"},{"@value":"국립문화재기구","@language":"ko"}],"logo":[{"@id":"https://emuseum.nich.go.jp/assets/img/logo.png"}],"rendering":{"@id":"https://emuseum.nich.go.jp/detail?langId=ja&webView=&content_base_id=100431&content_part_id=17&content_pict_id=0","label":[{"@value":"e国宝 - 能面　黒髭","@language":"ja"},{"@value":"e-Museum - Noh mask, 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