- \n
- Noh follows the \u201cjo-ha-ky\u016b\u201d (\u5e8f\u7834\u6025) Japanese principle of aesthetics (introduction, development, quick movement or finale) on all levels.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
Five Schools of Noh:<\/p>\n
- \n
- Kanze (<\/span>\u89b3\u4e16\u6d41)<\/span><\/li>\n
- H\u014dsho (\u5b9d\u751f\u6d41)<\/span><\/li>\n
- Komparu (\u91d1\u6625\u6d41)<\/span><\/li>\n
- Kong\u014d (\u91d1\u525b\u6d41)<\/span><\/li>\n
- Kita (\u559c\u591a\u6d41)<\/li>\n<\/ul>\n
\u2022Religion and Noh\u2022<\/p>\n
There are two opposing opinions on Noh\u2019s connection to Buddhism in japan (one on either extreme), but influence can’t be outright denied. There are some who argue also that there is strong connection between Noh and Shintoism.<\/span><\/p>\n
- \n
- Noh in itself does not have a religious function.<\/span><\/li>\n<\/ul>\n
- \n
- Some plays present Japanese deities and some evoke thoughts of shamanistic ritual (Shinto), while a great many are permeated with obviously Buddhist language. <\/span><\/li>\n<\/ul>\n
- \n
- Zen Buddhist ideology can be seen in structure of typical Noh play: a play is divided into 2 phases, between which a switch from present <\/span>to<\/span><\/i> past may occur. In the first phase, the <\/span>shite<\/span><\/i> appears in reincarnate form (after death and rebirth). In the second phase, the <\/span>shite<\/span><\/i> reappears in \u201ctrue identity\u201d (the form before death and rebirth).<\/span><\/li>\n<\/ul>\n
- \n
- The <\/span>Waki<\/span><\/i> is often a Buddhist or Shintoist priest who reveals his identity and tells the audience when and where the drama will take place.<\/span><\/li>\n<\/ul>\n
Parallels can be drawn between the kakegoe <\/span><\/i>of Noh performers<\/span> and the <\/span>Katsu<\/span><\/i> shouts of Zen Buddhist monks (a shout used to intuitively grasp the state of enlightenment<\/span>\u2014Satori<\/span><\/i>)<\/span><\/p>\n
\u2022Masks\u2022<\/p>\n
- \n
- Noh and Ky\u014dgen masks are made with the same materials <\/span><\/li>\n
- Woods<\/span>\n
- \n
- most frequently: <\/span>hinoki<\/span><\/i><\/li>\n
- occasionally: <\/span>katsura<\/span><\/i>, <\/span>honoki<\/span><\/i>, <\/span>kiri<\/span><\/i><\/li>\n
- almost never used: <\/span>kusunoki <\/span><\/i>, <\/span>yanagi<\/span><\/i>, <\/span>ginnan<\/span><\/i><\/li>\n<\/ul>\n<\/li>\n
- Reproduction <\/span>\n
- \n
- method devised by Edo mask makers (during Edo it becomes codified)<\/span><\/li>\n
- patterns of the front and side are cut out <\/span><\/li>\n
- this method only gives a general shape, to get the right features\/spirit is the task of the mask maker<\/span><\/li>\n<\/ul>\n<\/li>\n
- Backfinishing <\/span>\n
- \n
- started in Momoyama period <\/span><\/li>\n
- most masks are finished<\/span>\n
- \n
- earlier pieces use a simple layer of lacquer <\/span><\/li>\n
- more complex lacquering techniques come into development later<\/span>\n
- \n
- (reading note: Kawachi, master carver) <\/span><\/li>\n<\/ul>\n<\/li>\n
- must be finished in such a way so that the mask makers chisel marks (analogous to signature) are left in view <\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n
- Coloring <\/span>\n
- \n
- also many different methods <\/span><\/li>\n
- starts with layers of chinese white (a pigment) and glue (<\/span>nikawa<\/span><\/i>) <\/span><\/li>\n
- other layers are added and then scraped\/smoothed<\/span><\/li>\n
- the process of painting moves from lighter colors to darker colors <\/span><\/li>\n
- the smoothing of each layer must be done very carefully to achieve the soft desired look<\/span>\n
- \n
- especially for masks of women because they are almost completely flat<\/span><\/li>\n<\/ul>\n<\/li>\n
- after the base coloring is done, other aspects are added<\/span><\/li>\n
- hair for certain masks<\/span><\/li>\n
- metal eyes\/teeth for demons<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
Some Noh Masks (n\u014dmen, <\/em>\u80fd\u9762)<\/em><\/p>\n
![\"otoko\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/otoko-150x150.jpg\")
otoko<\/i><\/p><\/div>\n
![\"onna\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/onna-150x150.jpg\")
onna<\/i><\/p><\/div>\n
![\"tobide\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/tobide-1-150x150.jpg\")
tobide<\/i><\/p><\/div>\n
![\"obeshimi\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/o\u0304beshimi-150x150.jpg\")
\u014dbeshimi<\/i><\/p><\/div>\n
<\/p>\n
![\"hannya\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/hannya-150x150.jpg\")
hannya<\/i><\/p><\/div>\n
<\/p>\n
<\/p>\n
<\/p>\n
<\/p>\n
- \n
- an essential part of noh is the <\/span>shite<\/span><\/i>\u2019s communing with the mask (they must become one) <\/span><\/li>\n
- noh, at its core, is a mask drama (simply restating the words in a certain manner is not enough)<\/span><\/li>\n
- making the mask versatile is a part of noh<\/span>\n
- \n
- raising the head (and capturing the light) makes the mask look happy <\/span><\/li>\n
- lowering the head makes the mask look sad <\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
![](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/angles-1024x522.jpg\")
shadows<\/p><\/div>\n
Some Ky\u014dgen Masks (ky\u014dgenmen,\u00a0<\/em>\u72c2\u8a00\u9762)<\/p>\n
![\"saru\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/saru-150x150.jpg\")
saru<\/i><\/p><\/div>\n
![\"buaku\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/buaku-150x150.jpg\")
buaku<\/i><\/p><\/div>\n
![\"otafuku\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/otafuku-150x150.jpg\")
otafuku<\/i><\/p><\/div>\n
<\/p>\n
<\/p>\n
<\/p>\n
<\/p>\n
<\/p>\n
![\"ebisu\"](\"https:\/\/sites.williams.edu\/17w-japn-025-kyoto\/files\/2016\/12\/ebisu-150x150.jpg\")
ebisu<\/i><\/p><\/div>\n
- \n
- the origins of the development of ky\u014dgen<\/em> masks are unknown <\/span>\n
- \n
- legend\/rumor that noh mask makers would make ky\u014dgen<\/em> masks as a release<\/span><\/li>\n<\/ul>\n<\/li>\n
- noh is a mask-drama, while ky\u014dgen<\/em> is a comedy of words.<\/span><\/li>\n
- while noh focuses on an idealized grace and otherworldliness, the spirit of ky\u014dgen<\/em> comes from the goodness of man<\/span>\n
- \n
- men playing men do not wear masks <\/span><\/li>\n
- men playing women often do not wear masks but a white cloth (<\/span>binan<\/span><\/i>) wrapped around the head<\/span>\n
- \n
- when a mask is used, it is for an exceptionally ugly woman<\/span><\/li>\n
- (its ugliness is devoid of evil; just plainly unattractive<\/span><\/li>\n<\/ul>\n<\/li>\n
- gods are portrayed with exaggerated, joyous faces<\/span><\/li>\n
- demon masks (<\/span>buaku) <\/span><\/i>are caricatures of the the <\/span>n\u014d-men <\/span><\/i>(\u80fd\u9762) <\/span>\u014d-beshimi <\/span><\/i>[also a demon mask]<\/span>\n
- \n
- caricatures underscore the goodness of man by making the demons powerful looking on the surface, but cowardly\/stupid as entities <\/span><\/li>\n<\/ul>\n<\/li>\n
- animals (in contrast) are created with a certain amount of realism<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\u2022Musical Components\u2022<\/p>\n
- \n
- Instruments involved: n\u00f4-kan flute, ko-tsuzumi (shoulder drum), o-tsuzumi (hip drum), and taiko drums (played with beaters).<\/span><\/li>\n
- Vocals are heard in songs sung by a chorus of 6-10 men (called <\/span>ji: <\/span><\/i>\u5730–> ground\/base), solos sung by actors, and the \u201ckakegoe\u201d \u00a0of the drummers before or after they play (as well as the interjecting calls).<\/span><\/li>\n<\/ul>\n
- \n
- \u201cThe notes of the flute, those of the singers the strokes on the drums and the calls of the musicians are\u2026 <\/span>never improvised<\/span> or <\/span>predetermined<\/span>… but are inserted in a pattern determined in advance\u201d similar to the way Noh dances are constructed.<\/span><\/li>\n
- Seven categories of patterns according to musical function <\/span><\/li>\n
- Two kinds of patterns: Rhythmic (drums) and melodic (flautist, chorus and actor)<\/span>\n
- \n
- The patterns have fluctuating character (placement\/occurrence and duration) although not to the point of becoming unrecognizable.<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- Whole musical patterns are learned and memorized (seen as the smallest unit in Noh music)<\/span><\/li>\n
- \u201cThe taiko does not enter until the last section, in which it carries the rhythm to its greatest intensity and complexity.\u201d<\/span><\/li>\n
- Whole musical patterns are learned and memorized (seen as the smallest unit in Noh music)<\/span><\/li>\n
- Seven categories of patterns according to musical function <\/span><\/li>\n
- Vocals are heard in songs sung by a chorus of 6-10 men (called <\/span>ji: <\/span><\/i>\u5730–> ground\/base), solos sung by actors, and the \u201ckakegoe\u201d \u00a0of the drummers before or after they play (as well as the interjecting calls).<\/span><\/li>\n<\/ul>\n
- animals (in contrast) are created with a certain amount of realism<\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- (its ugliness is devoid of evil; just plainly unattractive<\/span><\/li>\n<\/ul>\n<\/li>\n
- men playing women often do not wear masks but a white cloth (<\/span>binan<\/span><\/i>) wrapped around the head<\/span>\n
- noh is a mask-drama, while ky\u014dgen<\/em> is a comedy of words.<\/span><\/li>\n
- legend\/rumor that noh mask makers would make ky\u014dgen<\/em> masks as a release<\/span><\/li>\n<\/ul>\n<\/li>\n
- lowering the head makes the mask look sad <\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- noh, at its core, is a mask drama (simply restating the words in a certain manner is not enough)<\/span><\/li>\n
- after the base coloring is done, other aspects are added<\/span><\/li>\n
- starts with layers of chinese white (a pigment) and glue (<\/span>nikawa<\/span><\/i>) <\/span><\/li>\n
- must be finished in such a way so that the mask makers chisel marks (analogous to signature) are left in view <\/span><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n
- more complex lacquering techniques come into development later<\/span>\n
- most masks are finished<\/span>\n
- patterns of the front and side are cut out <\/span><\/li>\n
- occasionally: <\/span>katsura<\/span><\/i>, <\/span>honoki<\/span><\/i>, <\/span>kiri<\/span><\/i><\/li>\n
- Woods<\/span>\n
- Noh and Ky\u014dgen masks are made with the same materials <\/span><\/li>\n
- The <\/span>Waki<\/span><\/i> is often a Buddhist or Shintoist priest who reveals his identity and tells the audience when and where the drama will take place.<\/span><\/li>\n<\/ul>\n
- Zen Buddhist ideology can be seen in structure of typical Noh play: a play is divided into 2 phases, between which a switch from present <\/span>to<\/span><\/i> past may occur. In the first phase, the <\/span>shite<\/span><\/i> appears in reincarnate form (after death and rebirth). In the second phase, the <\/span>shite<\/span><\/i> reappears in \u201ctrue identity\u201d (the form before death and rebirth).<\/span><\/li>\n<\/ul>\n
- Some plays present Japanese deities and some evoke thoughts of shamanistic ritual (Shinto), while a great many are permeated with obviously Buddhist language. <\/span><\/li>\n<\/ul>\n
- H\u014dsho (\u5b9d\u751f\u6d41)<\/span><\/li>\n
- Kanze (<\/span>\u89b3\u4e16\u6d41)<\/span><\/li>\n