A mask representing an old man, jō 尉, in particular the old men masks of the *noh 能 theater and related performing arts. The term jō is generally applied to many pre-16th century masks, where the type-categorization was not yet standardized. Fine examples include the long-faced old man's mask dated 1430 from Tenkawa Daibenzaitensha 天河大弁財天社, Nara. Today many varieties of jōmen exist, each bearing a distinctive name whose last character is jō. By the mid-Edo period, elaborate rules controlled the use of each of these named types. First of all, distinction was made between jōmen worn in the first act of a play, generally for the role of a local man of the area, and jōmen worn in the second act, in which case the main actor, shite シテ, would perform a slow dance called 'dance prelude' jo no mai 序ノ舞 or 'the god's dance' shin no jo no mai 神ノ序ノ舞. Masks for the first act are arranged by level of dignity, kurai 位, reflected in the realism of construction: painted mustaches are more dignified than implanted horse hair; a single row of barely visible black upper teeth shows much less of the animal part of man than bared lower teeth glinting with white edges. The old man in the first act wears a costume that often indicates he is involved in manual labor with a wig of long hair bound in a high ponytail bound to the crown of the head. To complement this wig, the masks have implanted forelocks. Jōmen are the only noh masks with realistic hair intended to blend in visually with the wig, though this device can also be seen in bugaku masks *bugakumen 舞楽面. Dancing old men roles divide into two groups. The spirits of trees, such as the willow in Yūgyōyanagi 遊行柳 or the old cherry in Saigyōzakura 西行桜, and the god of a shrine, such as Sumiyoshi Myōjin 住吉明神 in Hakurakuten 白楽天. For these roles, depending on the acting school, the masks worn are *shiwajō 皺尉 (Kanze 観世 school), *maijō 舞尉 (Hōshō 宝生 school), or *ishiōjō 石王尉 (Kongō 金剛, Konparu 金春, Kita 喜多 schools). Jōmen are carved from cypress wood coated on the front surface with layers of gesso *gofun 胡粉 and painted. Variety in shade of the flesh color ōdo iro 黄土色 depends more on the age of the mask or the aesthetic of the carver than on regulations, though ishiōjō tends to be whiter, and shiwajō grayer.