Art in the Garden
Mirrors of the Mind:
The Noh Masks of Ohtsuki Kokun

Fall 2017

Mirrors of the Mind:
The Noh Masks of Ohtsuki Kokun

A N A RT I S T I C T R A DI T I ON

S U B T L E E L EGA NC E

The tradition of Noh theater has been part of Japaneseculture since the 8th century. Today, Noh and thecomplementary comic theater style Kyōgen havereceived UNESCO’s designation as an Intangible
Cultural Heritage of Humanity.

Different from any other art form in Japan, a Noh mask
is a “window to the soul” that captivates its audienceby becoming its own character on stage throughthe living presence of the actor and the imaginationof the audience itself. Although inherently staticin appearance, a Noh mask is intended to convey awide range of human emotions and feelings.

Noh masks have been an integral part of the Nohperforming art tradition since the 14th century.
There are approximately 60 types of Noh masks, andsome, made up to 400 years ago are still being usedin performances today.
This artistic tradition continues in Ohtsuki Kokun’swork. Born in Kurashiki City, Mr. Ohtsuki currently
resides in Kyoto. He has made masks for many
prominent Noh masters, including Hayashi Kiichiro,
Umewaka Rokuro, and members of the Kanze
family. He also teaches mask carving in Kyoto andSagamihara.

For example, an actor can change the character’s
expression from happiness to one of deep sorrow,
just by tilting the mask slightly. The play of light,
the angle of the mask, the actor's skill and stage
position, all contribute to portraying the character,as does the spirit imbued in a mask by a masterfulcarver like Ohtsuki Kokun.
The creation of a single mask can take several
months. The process includes carving the finest
quality hinoki cypress wood, applying undercoat
layers of paint mixed with glue called nikawa, drying,sanding, and coating with urushi (lacquer) and delicately coloring
details of lips, eyes, and hair with an extremely fine brush.
A typical Noh play introduces a masked actor as a wandering
priest or traveler who is given shelter in a humble abode. Whileasleep, a dream reveals a tormented past or hidden truth that
releases him or her from the shackles of illusion. This leads to acathartic change that sets the character free, enlightened so as toreturn to daily life unburdened.
The structure of Noh masks aids in this transformation. Viewing
a mask face-on, you are presented with the bright face of thecharacter; it appears to smile. When the mask is turned downward,
its expression darkens as though the character were weeping.
In carving each mask, much thought goes into the relationshipbetween the upper and lower lids of the eyes to create a sense of
depth.
Likewise, the indentation on both sides of the mouth is vital toenabling a multitude of expressions when worn by an expert actor.
The masks are deliberately shorn of individualized features sothat they can look like anyone.

Noh masks and the simple, lean formsof modern sculpture have much incommon. The masks are stripped of all
garnishes and stand as a pure essence
while

still

maintaining

depthandspirituality.
O H T S U K I
N O H

M A S KK O K U N ,M A K E R

T H R EA D S OF NOBI LI T Y

Accompanying the masks in this exhibition were a selection of
beautifully woven, silk brocade costumes in patterns that relate
to a season or Noh theme. Each costume is matched with a maskthat would be worn together in a particular Noh play. These
costumes were woven on the looms of Orinasu-kan, one of themost respected weaving houses in Kyoto. Made exclusively forthe samurai and upper classes, they typically feature geometricpatterns and are more subtle and refined than the exuberantly
designed Kabuki costumes.

2A RT IN THE GA RDEN

FA L L 2 0 1 73

S P ON S OR E D BY :Harold & Arlene Schnitzer Care Foundation; Catherine & Taisuke
Sasanuma; Delta Airlines; Oregon Cultural Trust; Salena Johnson, inmemory of Thomas R. Johnson

All Noh masks are courtesy of Ohtsuki Kokun.
Costumes courtesy of Orinasu-kan of Kyoto. Photos by Yamazaki Kenji.
Diane Durston
Curator of Culture, Art, and Education
ddurston@japanesegarden.org

All Photos: Jonathan Ley

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