Though in the past some actors were also mask-carvers, today the two professions are separate. Early carvers, contemporaneous with Zeami (late 13-14th century) created types of masks that would later become standards. In the late sixteenth century certain masks from each type were seen as superior and became honmen or ‘models’, which were then replicated as utsushi or ‘copies’. The art of the carver shifted from creating new masks to reproducing standard models. By the Edo period (1603-1868) mask-makers established lineages, and often signed the back of their masks or added an identifying mark. Unlike costumes, which are subject to wear and old ones cannot generally be used in contemporary performance, masks dating back to the Muromachi period (1392–1573), when most model masks were created, or to the Edo period (1603–1868), when carvers focused on creating beautiful copies, are still used on stage today. This method of production has led to the creation of groups of masks that are identified by the same name, although they may have unique features that distinguish them from the model. For example, the actor and mask carver Magojirо̄ made a young woman mask which now goes under its name. Later, another mask carver, Kawachi, made another version of the same mask. The two have the same name, but appear different.
In this section
Carving
Each noh mask is created from a single block of wood. While ancient masks were made of various types of wood such as kiri (paulownia), kusunoki (camphor tree) or hinoki (Japanese cypress), modern masks are made with hinoki. This light, soft, and highly warp-and-rot-resistant type of wood is often used for the construction of sacred items or buildings such as shrines and temples.
Carvers observe the grain and growth rings of the chosen block of wood in order to choose which direction to use: usually the top of the head will correspond to the direction which the tree is growing, and the face of the mask will correspond to the inner part of the block, as if it were looking inside the trunk from which it was taken. This is to avert latent resins remaining in the block of wood which tend to flow outwards, from staining the face of the mask.
In carving, hammers, saws, and chisels of various sizes are used. No electric-powered devices are used in the process. Paper templates (katagami) of the silhouette, circumference and other details of the model mask can be used to check proportions and placement during the carving process. Expert mask makers do not always need or slavishly follow katagami, and may carve ‘free-hand’.
Much attention is put on the kind of shadows the mask will have as it is used. Effects such as teru and kumoru (‘lighting’ or ‘clouding’ the mask) achieved by tilting the mask up or down are created by sophisticated shifts of light and shadow on its surface. If the carving is successful, a skilled actor will be able to create the effect of sadness, hope, or anger from the same object. The carving of the back of the mask is also given special attention, as this is the last impression of the mask the performer will see before donning it. In addition, a good carving of the back of the mask allows for a better resonance of the voice.
Painting
Once the carving is complete, the front of the mask is first covered with several layers of white base made by mixing crushed white shell powder (gofun) with natural animal glue (nikawa). Once this base has been smoothed with sandpaper, the mask is painted using natural earth pigments, applied with brushes. For masks like shintai or hannya, a gold powder-based pigment is used for painting the teeth to express their supernatural character. In other cases copper plates are added for eyes or teeth. Other masks, such as Ō-tobide or Shishiguchi, are entirely painted with gold.
Though the painting of some masks may appear to be relatively simple, a closer look reveals great attention to detail, for example nuances in the skin tone, or loose hair, often painted strand by strand with fine brushes. Just like carving, painting aids the play of shadows on the surface of the mask, allowing the actor to achieve desired effects.
Since fixing agents are not applied once the painting is complete the mask is particularly prone to natural deterioration. Therefore, masks are held by touching only the area around the holes where the cords (men-himo) are attached to fix the mask on the performer’s head.
Finishing touches
At the end of the painting process, hair from manes and tails of horses is added for hair, beards, and sometimes eyebrows of masks of the jō old men type, or for those of elder-looking supernatural beings (e.g. Akujō) or certain variants of Ko-beshimi. Masks used to portray rustic or rough old men (e.g. Sankō-jō or Warai-jō) usually sport hair inserts for both beard and mustache, while those expressing a noble or godly nature have painted mustache and just a hair goatee (e.g. Ishiō-jō). Some masks, such as Ō-beshimi or Shishi-guchi, have metal (copper) inserts covering the eyes and sometimes the teeth, with the purpose of reflecting light and creating a dramatic effect. Exceptions to these typical inserts are the round, puffy eyebrows for Hakushiki-jō (Okina), made with rabbit fur or flattened hemp thread, and the deer horn for Ikkaku-sennin. The back of the mask is often uniformly painted with lacquer (urushi) in order to prevent the wood from absorbing the actor’s breath and perspiration. Finally, a brown-grey patina is applied to the face and masks are often deliberately scarred to create a sense of age. This is an important part of mask-making as it makes the mask appear more realistic once seen from a distance. The copy of the ancient model is now complete. Masks are stored in silk bags and placed inside boxes made of paulownia wood (kiribako).
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Contributor: Diego Pellecchia, Monica Bethe