Face value: Asia's masked heritage at centre stage
New Delhi: In the heart of the city, the Indira Gandhi National Centre for the Arts (IGNCA) has unveiled a window into the soul of Asia through its extraordinary collection of traditional masks.
The exhibition, currently on display at the Bharat Muni Deergaha gallery, showcases nearly 1,000 masks from over 20 Asian countries — each one a testament to the continent's astonishing artistic and cultural heritage.
The masks, once tucked away in IGNCA's storerooms, are now in the spotlight and offer a glimpse into ancient traditions, beliefs and dramatic idioms — from the mystical allure of Japanese Noh theatre masks to the fierce ritualistic designs of Tibetan ceremonial masks.
"This exhibition is a tribute to the universal urge to transform, perform, protect and belong — a silent dialogue between time and tradition," said Dr Sachchidanand Joshi, member secretary, IGNCA.
"A mask is not just a cover, it is a doorway — into forgotten rituals, living traditions and the eternal theatre of humanity."
IGNCA's collection includes festival masks from Thailand, expressive Korean Talchum masks known for blending satire with storytelling, and Indian tribal masks that use bold lines and bright hues to convey spiritual symbolism.
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Chinese opera masks, with their refined designs, further highlight the range of cultural narratives and aesthetic philosophies across Asia.
In India, masks serve both ritualistic and performative purposes. Among the standout displays are the Saraikela masks from Jharkhand, meticulously fabricated from papier-mache and painted in vivid colours. These masks, depicting gods, animals and mythical beings, are central to the Chhau dance — a classical art form that fuses martial arts, storytelling, and acrobatics.
Another unique subset is the Sri Lankan mask collection, consisting of Rakshasha (demon) masks and Sanniya masks, each representing specific diseases. Used in healing rituals and folk dramas, these masks blend supernatural beliefs with therapeutic traditions, creating a powerful fusion of performance and community healing.
Dr Achal Pandya, head, conservation division, IGNCA, explained the motivation behind this public unveiling: "For years, these masks remained stored away.
We felt it was time they were seen, studied and celebrated. The exhibition enables scholars, students and the public to experience these artefacts while preserving their integrity."
According to Pandya, the initiative also resulted in a comprehensive reorganisation of the archives, ensuring accessibility without compromising conservation efforts. "This is not just an exhibition, but a step forward in our commitment to cultural preservation."
What emerges from the exhibition is more than a display of artistic skill — a visual archive of human expression, spirituality and storytelling. Through these masks, visitors embark on a journey through the customs, festivals and folklore of Asia, discovering how masks have long served as tools for transformation, empowerment and identity. The exhibition, which opened in April, will run till July 15.
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