▁early ▁Western ▁travel ers ▁imply ▁that ▁the ▁d ances ▁actually ▁differ ed ▁in ▁many ▁ways ▁from ▁the ▁manual s . ▁Cham ▁mask s ▁of ▁Mong ol ian ▁production , ▁for ▁example , ▁have ▁an ▁art istic ▁express iveness ▁only ▁rarely ▁matched ▁in ▁other ▁countries . ▁Pre par ation ▁of ▁the ▁mask s ▁for ▁Cham ▁was ▁a ▁complex ▁and ▁time ▁cons uming ▁work . ▁The ▁shapes ▁of ▁the ▁mask s ▁were ▁first ▁made ▁of ▁pap ier - m â ché . ▁At ▁the ▁end ▁the ▁mask s ▁were ▁painted ▁and ▁g ild ed . ▁The ▁mask s ▁could ▁be ▁also ▁finished ▁with ▁cor als , ▁p ear ls ▁and ▁j ew els . ▁The ▁clothes ▁were ▁made ▁of ▁high ▁quality ▁sil k ▁and ▁certain ▁elements ▁of ▁the ▁access ories ▁or ▁symbol ic ▁attributes ▁were ▁made ▁of ▁cor als , ▁p ear ls , ▁j ew els , ▁t us ks ▁and ▁cam el ▁b one . ▁Every ▁monaster y ▁had ▁its ▁distingu ishing ▁style ▁of ▁mask s ▁and ▁decor ations . ▁Thus , ▁the ▁mask s ▁at ▁monaster y ▁Zh anz hing - Cho ir en ▁were ▁of ▁the ▁size ▁to ▁fit ▁the ▁heads ▁of ▁the ▁d anc ers ▁who ▁could ▁see ▁through ▁glass ed ▁cut s ▁of ▁the ▁eyes ▁of ▁the ▁mask s . ▁The ▁mask s ▁in ▁the ▁Ur ga ▁style ▁were ▁exception ally ▁large , ▁twice ▁as ▁big ▁as ▁a ▁human ▁head ▁adding ▁extra ▁height ▁to ▁the ▁dan cer ▁who ▁could ▁see ▁through ▁the ▁mouth ▁of ▁the ▁mask . ▁The ▁mask