TopengPajegan.com is the website of Sean Aquino he does traditional dance, mask carving and theatre. He is also a
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A noh mask representing a girl in the first blush of womanhood. The full cheeks, engaging, full-lipped smile, dimpled chin, and eyes that swerve up at the sides suggest an outgoing, engaging personality. The "caterpillar" eyebrows are painted high on a full forehead and the black hair parted in the middle has three loose strands on each side etched out with a carving tool.
The handsome Dalem (meaning Raja or King) usually appears fourth in the introductory dances to the Topeng, then reemerges as a character in the main story... It represents the qualities desirable in a ruler: intelligence, nobility, and a forceful, positive disposition. (source "Balinese Masks" by Judy Slattum)
Made by I Wayan Tangguh. I use this mask for performance.
The first mask revealed in the series of introductory dances (penglembar) that precede the story of the Topeng is usually that of the Patih Manis or Prime Minister. (source "Balinese Masks" by Judy Slattum)
In my experience both this mask and another rougher variation are referred as Topeng Keras. This mask was made by I Ketut Kodi and I Wayan Tangguh. I use this mask for performance.
The Jauk is from the Sandaran performance, and the forces of the left, or low spirits, are strongly manifested in his nature. In a drama he represents menacing giants, demons in their destructive mode, or antagonistic kings. (source "Balinese Masks" by Judy Slattum)
I carved this mask mixing Balinese style with Japanese materials and paints.
A noh mask representing a demon from hell who dances a fierce dance. A smaller version of oobeshimi, the compressed scale of its features creates a truly frightening and intense aura. A sharp glare emanates from the protruding, metallic gold eyeballs. The mouth is clamped firmly together and the ends of the mouth curl downward without a hint of the playfulness seen in the oobeshimi. Kobeshimi's dark red color also lends the mask power.