https://www.arc.ritsumei.ac.jp/nohwiki/api.php?action=feedcontributions&feedformat=atom&user=WikiSysop 2026-04-12T20:16:11Z 利用者の投稿記録 MediaWiki 1.43.0 https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Taiko&diff=93785 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>----<br /> =Noh Kyogen=<br /> [[Category:noh|taiko]<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%C5%8C-tsuzumi&diff=93784 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|ō-tsuzumi]<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Ko-tsuzumi&diff=93783 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> こつづみ[[小鼓]]<br /> ----<br /> (MB)<br /> =Noh Kyogen=<br /> [[Category:noh|ko-tsuzumi]<br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Ch%C5%ABnori&diff=93782 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> ちゅうのり　[[中ノリ]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|chūnori]<br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Headgear&diff=93781 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> かんむり、ぼうし　[[冠、帽子]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|headgear, kanmuri, bōshi]<br /> ===Kanmuri Crowns: Types and Roles===<br /> ===Hats: Types and Roles===<br /> ===Contributor===<br /> Monica Bethe<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Wig&diff=93780 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>かはつ[[仮髪]]<br /> ----<br /> In noh '''wigs''' are broadly categorized as ''kazura'' 鬘 or ''kami'' 髪), which simulate human hairstyles and are bound in a ponytail, ''tare'' 垂, where the hair is allowed to hang loose, and large wigs (''kashira'' 頭), which are made of massive fibers that fan out around the head and down the back. <br /> <br /> =Noh Kyogen=<br /> [[Category:noh|wigs]]<br /> <br /> ===Kazura and Kami (Bound Wigs): Types and Roles===<br /> <br /> All women's roles use masks and a kazura wig with long hair (made of either real human hair or horse mane), parted at the center. The wig is set on the actor's head, combed, rolled at the sides, and gathered in a low ponytail at the back, where it is tied with a white paper knot (''motoyui'' 元結). Young women wear black wigs (''kuro-kazura'' 黒鬘), while old women wear tan hair or mixed black and tan hair wigs (''uba-kazura'' 姥髪 and ’’rōonna kazura 老女鬘) of the same style as young women. Celestial maidens have longer ''naga-kazura''. Boy acolytes wearing the [[Kasshiki]] mask wear wigs (''kasshiki-kazura'' 喝食鬘) with a part that is combed straight back and bound at the nape of the neck. Old men wear a tan-colored, high ponytail of horse mane flipped to the front over a white cap in ''chonmage'' style. The old man's wig (''jō-gami'' 尉髪) is tied with a ramie cord. <br /> <br /> ===Tare (Loose Wigs): Types and Roles===<br /> <br /> &quot;Hanging&quot; (''tare'') wigs have below shoulder-length hairs attached in a ring that is placed on the crown of the actor's head. The black ''kurotare'' 黒垂 is worn for roles of male and female deities and warrior courtiers. The kurotare is always worn under a crown, hat, or other headgear covering the wig's central ring. As a variant for more aged roles, the ''shirotare'' 白垂 with off-white hairs might be used.<br /> <br /> <br /> ===Kashira (Large Wigs): Types and Roles===<br /> <br /> Kashira are constructed by attaching hairs to a cloth strip that is tied to the head. For red (''aka-gashira'' 赤頭) headpieces worn by strong gods, dragon gods, demons and beasts, the hairs bristle out in all directions obscuring the mask and cascading down the back of the actor. Black headpieces (''kuro-gashira'' 黒頭) made of horse mane are similar in construction but less wild. They are worn by male ghosts, young deities, and masked boys. Large white headpieces (''shiro-gashira'' 白頭) are of the same construction as red headpieces and, as with humans, express advanced age. 'White headpiece' variant performances add a supernatural dynamic.<br /> <br /> ===Special Wigs===<br /> <br /> Some wigs are used only for special circumstances or in variant performances. An woman's wig with a long hairpiece extension ( ''Naga-kamoji''長髢) is used for the &quot;''naga-hakama''&quot; variant performances of Aoinoue and Dōjōji, where a jealous woman wears a Hannya mask and long trailing red trousers. In the nō ''Mochizuki'' and ''Uchito Mōde''the actor performs a ''shishi'' dance wearing a variant large wig that is attached to gold open fans that substitute for a lion mask. In addition, some kyōgen plays require beards, such as ''Higeyagura'' and ''Tō Sumō''.<br /> <br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Hakama&diff=93779 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>はかま　[[袴]]<br /> ----<br /> '''''Hakama''''' is a generic term for a variety of styles of skirt-like trousers. Certain types of hakama were common streetwear in the Edo period. In the noh, these streetwear hakama are worn together with crested black kimono (''monzuki'') for all the non-acting roles and by the actors for&quot;uncostumed&quot; performances (&quot;hakama nō). <br /> <br /> Hakama-style garments can also be costumes and are worn by both male or female characters. The various types of costume hakama are differentiated by construction, material, color, and decoration. They are worn on top of undergarments, such as ''[[noshime]]'' or ''[[atsuita]]''. Often outer robes, like ''[[kariginu]]'' or ''[[karaori]]'' in ''tsuboori'' draping, are draped over the hakama-style garments.<br /> <br /> =Noh Kyogen=<br /> [[Category:noh|hakama]]<br /> <br /> ==Types and Roles==<br /> In noh, ankle-length streetwear hakama are worn by the chorus members (''[[ji-utai]]'' [[地謡]]), instrumentalists (''[[hayashi]]'' [[囃子]]), and stage attendants (''[[kōken]]'' [[後見]]). Kyōgen characters wear ankle-length, hemp ''han-bakama'' 半袴 decorated with stencil-patterned scattered roundels. This kind of hakama is donned in combination with ''[[kataginu]]'' [[肩衣]] vests for roles of commoners, like the servants Tarō-kaja and Jirō-kaja. For messangers, laborers, temple workers, and minor shrine deities, the hakama are bound and secured to the calf: &quot;tied hakama&quot; or ''kukuri-bakama'' 括袴. Daimyō and samurai wear long trailing ''nagabakama'' 長袴 as a part of their matched suits, ''[[suō]]'' [[素襖]]. High-ranking men and women wear ''[[ōkuchi]]'' [[大口]], while supernatural deities and demons wear ''[[hangiri]]'' [[半切]]. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/ky33-00003/ky33-00003_003.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/ky33-00001/ky33-00001_003.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00029/no33-00029_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00023/no33-00023_003.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00024/no33-00024_003.jpg<br /> <br /> ==Tailoring==<br /> <br /> Hakama have separate front panels and back panels, which are sewn together to form &quot;legs&quot; from mid-thigh level down. The front panels have several deep pleats stitched in place at the top where they are tucked into a long cloth band that is used to tie the front panels to the wearer's waist. The back has two panels that are given a deep tuck at the top. The tuck may be sewn onto a reinforced back piece attached to sashes to tie the back panels to the body, or for variants with stiff back panels, like the ōkuchi and hangiri, the tucks may be opened out for storage and in preparation for dressing be formed by tightening cords strung through holes at the top of the panels. The standard hakama form a small bump at the upper back, while those with stiff back panels form a large mound over the upper back portion. <br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Hangiri&diff=93778 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>はんぎり　[[半切]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|hangiri]]<br /> <br /> ==Roles and Draping==<br /> Before donning hangiri, the stiff back panels are given a deep tuck to form a mound or bulge. The actor steps into the leg openings, and then the front half of the trousers is secured in place by tying the attached belt sashes at the back. Next the stiff mounded back panels are slipped over a fork-shaped wooden prong inserted in the tied sashes. The broad back panels add bulk and majesty to the figure when combined with a ''[[happi]]'' (bandits, goblins) a ''[[sobatsugi]]'' or happi with the sleeves hiked up (strong warrior or revengeful ghost) and ''[[kariginu]]'' (stong deities such as the god Kamo Wakeikazuchi in the play ''[[Kamo]]''.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00012/no33-00012_003.jpg<br /> <br /> ==Textile Features and Tailoring==<br /> The basic construction of hangiri is similar to that of ''[[ōkuchi]]'', except that the attached sashes are a different cloth from the garment and that the entire garment is made of the same fabric, generally satin with supplementary patterning in gold or silver, or sometimes colored threads. To achieve the stiffness necessary for the back panels, reed mats are inserted as a core between the face fabric and lining. <br /> <br /> ==Designs and Colors==<br /> Bold designs are common, often gold against a strong color like red, navy, purple, green, or white. Geometric patterns are common, though painterly motifs like large waves became common in the late Edo period.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00030.jpg<br /> Hangiri with design of dragon rounds and lightning on a dark green ground. Produced by Akira Yamaguchi.<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Kataginu&diff=93777 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>かたぎぬ　[[肩衣]]<br /> ----<br /> A '''''kataginu''''' is a sleeveless hemp upper garment worn by servants and commoners in kyōgen. Pattern-dyed, the kataginu is generally combined with short pleated trousers (''hakama'') or with pantaloons bound at the calf (''kukuribakama'').<br /> <br /> =Noh Kyogen=<br /> [[Category:noh|kataginu]]<br /> <br /> ==Roles and draping==<br /> The kataginu is emblematic of kyōgen costumes and worn for a broad spectrum of roles. The servants Tarō-kaja and Jirō-kaja wear kataginu over hakama, as does the [[ai-kyōgen]]. Active characters combine the kataginu with kukuribakama, while messengers might slip off the right sleeve.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/ky33-00003/ky33-00003_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/ky33-00002/ky33-00002_002.jpg<br /> <br /> ==Tailoring and Textile Features==<br /> Basically the same as the top of a ''[[kamishimo]]'' matched suit, the unlined, plain weave, hemp vest has two back panels that are about hip length and stitched together with a center seam. The front panels are pleated so they form wing shoulders and converge into broad bands that run down each chest and are tucked into the trouser belt. The rectangular back of the kataginu is decorated with stenciled or hand-drawn paste-resist designs or painted designs. <br /> <br /> ==Typical designs and motifs==<br /> Old kataginu generally have small repeat patterns of white on a solid blue or green or grey ground, while later Edo period and more modern kataginu tend to have large pictorial designs, often homely in content: large insects, oversize flowers, birds soaring over reeds in water, or cherry blossoms falling into waves. Kataginu have dandelion crests at the center back and at chest level on the front pleated panels.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00019.jpg<br /> <br /> Kataginu with rabbits among waves, peony scrolls, and seaside bamboo grass on a black and light blue divided ground. 19th century. Tokyo National Museum.<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0058481<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Kamishimo&diff=93776 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>かみしも[[裃]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|kamishimo]<br /> <br /> ==Roles and Draping==<br /> The kamishimo is worn over a ''[[kosode]]'' [[小袖]], typically a ''[[noshime]]'' [[熨斗目]]. The vest is tucked into the hakama, typicaly the formal, long, trailing ''nagabakama''. In kyōgen, high-ranking commoners, like the master in ''[[Busu]]'' [[附子]], wear a kamishimo with nagabakama. On formal occasions, the noh chorus members and instrumentalists wear kamishimo with ankle-length ''hanbakama'', or for ceremonial rituals with nagabakama.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00015/no33-00015_002.jpg<br /> <br /> ==Tailoring and Textile Features==<br /> The top is basically a sleeveless ''[[suō]]'' [[素襖]], but the front panel has been pleated to form wing-like shoulder panels gathered into thin front bands. The pleated trousers, both long and short, are tailored like the suō hakama. Kamishimo for noh and kyōgen tend to be made of bast and dyed with paste-resist patterns, either stenciled or hand painted through a funnel.<br /> <br /> ==Designs and Colors==<br /> Family crests are placed high on the center back seam and at chest level in front. Designs include overall repeat patterns, broad stripes, and pictorial motifs in blocks of contrasting colors, typically white, tan, indigo and green. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00018.jpg<br /> <br /> Kamishimo with scattered ''kemari'' balls on a blue ground. Edo period. Tokyo National Museum. <br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0065844<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Waka-onna&diff=93775 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>わかおんな　[[若女]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|Waka-onna]<br /> ===Mask features===<br /> <br /> Youthful maturity is expressed in the gently modeled cheeks, a half-open mouth with lingering smile, and high-set painted eyebrows that are neither thick nor thin, The loose hairs are painted in delicate parallel lines: two at the part, four crossing them, and three descending down the side of the face. <br /> <br /> ===Mask background===<br /> <br /> Many early noh masks from the Muromachi period before the types were standardized are described with the general name &quot;Young Woman&quot;, or Wakai Onna 若い女. These masks take various styles and should be distinguished from the mature form of the Waka-onna mask.　(MB)<br /> <br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Hakushiki-j%C5%8D&diff=93774 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> はくしきじょう　[[白式尉]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|Hakushiki-jō]]<br /> ===Characteristics===<br /> <br /> Deep wrinkles form round patterns on his forehead and cheeks. The wavy slit eyes brim with mirth, and the joyful mouth exposes only a few stubs of teeth. The separate chin (''kiriago'') 切り顎 is attached by means of hemp cords passed through holes in the upper and lower jaw and waggles as the actor chants his lines. Among noh masks, this feature is unique to the Shikisanban masks. The Hakushiki-jō mask has a sparse, long white beard and pompoms made of hemp that are glued on for eyebrows. A black horizontal strip at the upper edge of the mask indicates the line where the mask meets a black lacquer hat worn in performance. Hakushiki-jō masks come in various sizes, ranging from quite large to considerably smaller than the human face.<br /> <br /> ===Background===<br /> <br /> The Hakushiki-jō mask has been considered divine. Along with the other Shikisanban masks, such as the black [[Kokushiki-jō]] [[黒式尉]] worn by [[Sanbasō]] [[三番叟]], Hakushiki-jō is set up on an altar and treated with ritual reverence before the performance begins. Carrying it out on stage in a box and donning it in front of the audience also underscores its divinity, clearly distinguishing the actor (a man) from the masked figure filled with its spirit. Along the same lines, the Okina masks differ from other noh masks in the stylization of their features, so while other noh masks will subtly change expression with movement and shifting shadows to reflect complex emotions, Okina masks always exude a warm beneficence.<br /> <br /> Although legends attribute the oldest Okina masks to the seventh century Prince Shōtoku, the oldest Hakushiki-jo mask identified by an original dated inscription is a 1278 mask currently preserved in the Ethnologisches Museum, Staatliche Museen in Berlin. The next oldest with a dated inscription to 1477 is one in Itsukushima Shrine, Hiroshima, but numerous others from the fourteenth and fifteenth century have been preserved in shrines, particularly in and around the Kansai area. Each of the noh schools also treasure old Okina masks. (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/masks_22/no22-00002/no22-00002_001.jpg<br /> <br /> [http://www.dh-jac.net/db1/resource/results-detail.php?f1=no22-00002&amp;f00=%2A&amp;f39=00%2F000&amp;-max=15&amp;singleskip=15&amp;enter=jparc ''Hakushiki-jō'' by Ōtsuki Kōkun 大月光勲 (2014)]<br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Kokushiki-j%C5%8D&diff=93773 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> こくしきじょう[[黒式尉]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|tKokushiki-jō] <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/masks_22/no22-00003/no22-00003_001.jpg<br /> <br /> Mask of Kokushiji-jō by Ōtsuku Kōkun 大月光勲 2013<br /> <br /> http://www.dh-jac.net/db1/resource/results-detail.php?f1=no22-00003&amp;f39=00%2F000&amp;-max=15&amp;singleskip=60&amp;enter=jparc<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Shikisanban&diff=93772 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>しきさんばん　[[式三番]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===Ritual preparation before the performance===<br /> Traditionally the actors go through a period of abstention prior to the performance. On the day, the Okina and Sambasō masks are set up on an altar in the backstage area and given offerings of sake and salt. The performers gather in front of this altar and drinking from one cup passed around join in harmony.<br /> <br /> ===Roles===<br /> Men bako, mask bearer, dressed in [[kamishimo]]<br /> <br /> Senzai 千歳, the purifier, unmasked, dressed in matched [[hitatare]] [[直垂]] suit with a design of abroken ice pattern, cranes, and turtoises.<br /> <br /> Okina, benevolent old man played by the shite actor wearing a white-faced Okina (Hakushiki-jō) mask, Okina [[kariginu]] [[狩衣]], [[sashinuki]] [[指貫]], Okina [[eboshi]] [[烏帽子]], and Okina fan.<br /> <br /> Sanbasō, old man of fertility played by a kyōgen actor wearing a dark-faced [[Sanbasō]] [[三番叟]] (Kokushiki-jō [[黒式尉]]) mask, dark matched hitatare suit with design of cranes, tortoises, and pines.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/arc/Prints/arcUP/arcUP1493.jpg<br /> <br /> Woodblock print of the masks of Okina and Sanbasō above, artist unknown,1911. (Below are Kojo, an old man, and uba, an old woman.<br /> <br /> https://data.ukiyo-e.org/ritsumei/images/arcUP1493.jpg<br /> <br /> ===Summary===<br /> After the mask bearer brings out the box containing the mask, the shite player comes out, unmaksed, and bows at the front of the stage. Then Senzai purifies the stage area by marking the corners with stamps and sleeve manipulations. During this time the mask is placed on the shite's face. After Senzai has finished, Okina stands at center stage and sings of the boundless, booming waterfall, of the tortoise, crane, and of the blessings of the deities. To instrumental music with three [[kotsuzumi]] [[小鼓]]drummers, the masked shite slowly goes to the down stage right corner then the down stage left corner, then center stage, where he flips the left sleeve over his head and covers his face with the open fan. This represents harmony of heaven, earth and man. The shite praises long life and then removes the Okina mask and exits.The stick drum （[[ōtsuzumi]] [[大鼓]]) joins the instrumentalists and the kyōgen actor performs two dances, mominodan (unmasked) and suzunodan (masked). Mominodan, like Senzai's dance, serves to purify the stage and awaken the earth god with strong stanmps and flying leaps. For suzunodan, Sambasō holds a stick with jingle bells and shakes it towards the ground as if planting seeds and encouraging their growth. (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/marega/MM0617/MM0617_01.jpg<br /> <br /> Woodblock print of Okina by Tsukioka Kōgyo, Nōgaku zukai, 1897 https://data.ukiyo-e.org/ritsumei/images/arcUP0842.jpg<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/arc/Prints/arcUP/arcUP1464.jpg<br /> <br /> Woodblock print of Sambasō, artist unknown, 1911, <br /> https://data.ukiyo-e.org/ritsumei/images/arcUP1464.jpg<br /> <br /> ==Private==<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Okina&diff=93771 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>おきな　[[翁]]<br /> <br /> ''Okina'' refers to a ritual performance (also called [[Shikisanban]] [[式三番]]) as well as to the name of the white mask (also called [[Hakushiji-jō]] [[白式尉]]) worn by the main character in that noh. The mask represents a happy old man and is considered sacred. On ceremonial occasions Okina heads a noh program. The Shikisanban ritual goes back to before the creation of noh plays and was seen by [[Zeami Motokiyo]] [[世阿弥]] as the foundation of his art. Versions of ''Okina'' are still performed in shrines around Japan by different kinds of performer.<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|Okina]<br /> ===Okina dance===<br /> <br /> In the Shikisanban, the dance of Okina follows the purification of the stage by Senzai and the donning of the Hakushiki-jō mask on stage. Okina sings of long life (symbolized by tortoise, crane, and ever flowing waterfall) and the age of the gods who bring peace and prosperity. He then dances progressing around the stage in a triangle. He stops at the corners to indicate heaven, earth, and man, thereby symbolizing their mutual harmony. He ends with an invocation of the &quot;Joy of Ten Thousand Years&quot; (''manzairaku'').<br /> <br /> ===Okina mask===<br /> <br /> The white faced Hakushiki-jō mask of a happy old man is used in noh and festival performances of Shikisanban. Deep wrinkles form round patterns on his forehead and cheeks. The wavy slit eyes brim with mirth, and the joyful mouth exposes only a few stubs of teeth. The separate chin (kiriago) is attached by means of hemp cords passed through holes in the upper and lower jaw and waggles as the actor chants his lines. The mask has a sparse, long white beard and pompoms made of hemp that are glued on for eyebrows. A black horizontal strip at the upper edge of the mask indicates the line where the mask meets a black lacquer hat worn in performance. Hakushiki-jō masks come in various sizes, ranging from quite large to considerably smaller than the human face. The oldest Hakushiki-jo mask yet found with an original dated inscription is a 1278 mask in the Ethnologisches Museum, Staatliche Museen zu Berlin. Many other fine old Hakushiki-jō masks belong to shrines and the acting troupes.<br /> <br /> Okina masks (plural) refers to all four masks related to the performance of ''Okina'', two of which are no longer used in the standard noh version today. These are Okina, [[Sahbasō]] [[三番叟]]　(also known as [[Kokushiki-jō]] [[黒式尉]], Chichino-jō (father) 父尉, and Enmeikaja 延命冠者 (Youth of Long Life). All but the last are characterized by deep stereotyped wrinkles and separate chins (''kiriago'').<br /> <br /> ===Okina costume===<br /> <br /> Okina is dressed like a Heian courtier in a round-collared courtier's upper garment, a [[ kariginu]] [[狩衣]], and [[sashinuki]] [[指貫]] pantaloons, The kariginu has a woven shokkō pattern of linked octagons and small squares that is specifically associated with the Okina role. Likewise, the courtier's cap is folded in a unique ''Okina eboshi'' 翁[[烏帽子]] manner and he carries an Okina fan, which has imagery evoking turtles and cranes, symbols of long life. (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/arc/Prints/arcUP/arcUP0842.jpg<br /> <br /> Woodblock print of ''Okina'' by Tsukioka Kōgyo, Nōgaku zue, 1897. <br /> <br /> https://data.ukiyo-e.org/ritsumei/images/arcUP0842.jpg<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E4%BA%94%E7%95%AA%E7%AB%8B&diff=93770 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>ごばんだて　[[Goban-date]]　<br /> ----<br /> =能狂言=<br /> [[Category:能狂言|ひらがな]]<br /> <br /> あああああああああああ・・・・<br /> ===XXXX===<br /> いいいいいいいいい・・・・・・<br /> ===XXXX===<br /> うううううううううう・・・・・<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===XXXX===<br /> ===XXXX===<br /> ==Private==<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Hitatare&diff=93769 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>ひたたれ　[[直垂]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|hitatare]]<br /> <br /> ==Roles and Draping==<br /> Hitatare suits consist of a jacket and trousers with matching designs. Samurai officials wear hitatare over ''[[noshime]]'' [[熨斗目]], presenting an imposing figure in formal long trailing trousers (''nagabakama'' [[長袴]]). The kyogen actor taking the role of Sambasō in the ''[[Shikisanban]]'' [[式三番]] ritual (also known as ''[[Okina]]'' [[翁]]) wears a hitatare with ankle-length ''hanbakama'', since his performance includes high jumps, stamps, and vigorous movement. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00014/no33-00014_002.jpg<br /> <br /> ==Tailoring and Textile Features==<br /> The upper garment of the hitatare has open cuffs, double-width sleeves and short front panels that are tucked into the trousers. Flat tying cords are attached at the chest and tucked in under the belt. Cord tassels also dangle from the outer corner of the sleeves. The seams at the center back and sleeves have reinforcement cloth strips where one would expect a family crest. When worn with non-matching trousers, this upper garment is known as a ''kakehitatare''. The pleated trousers come in two styles: the formal long trailing trousers ''nagabakama'' and ankle-length ''hanbakama''. Reinforcement cloth strips are placed mid-thigh, where the front and back trouser panels join. the waistband and ties are made from a separate, white, cloth. <br /> <br /> The plain weave hemp garments are patterned with surface designs typically done with paste-resist, either applied through a stencil (''katazome'') or hand drawn using a funnel (''tsutsugaki''). Extra colors are often brushed on or applied with a stamp.<br /> <br /> ==Designs and Colors==<br /> Designs range from small repeat patterns to bold overall divisions of colors and large painterly designs that use the combined suit as a huge canvas. Colors include indigo, brown, green, and black. The Sambasō hitatare features long-life imagery of cranes, tortoises and pine twigs, motifs that are incorporated into designs on hitatare used for other roles as well.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00017.jpg<br /> <br /> Hitatare upper with cranes and tortoises on a dark green hemp ground. 18th century. Tokyo National Museum<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0059498<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Su%C5%8D&diff=93768 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>すおう [[素襖]]<br /> ----<br /> A '''''suō''''' is a broad-sleeved (''[[ōsode]]'' [[大袖]]) noh costume. It is a matched suit made of unlined hempen fabric with dyed designs and used in noh and kyōgen for roles of commoners and samurai. The matched suits combine an upper jacket with pleated trousers. <br /> <br /> =Noh Kyogen=<br /> [[Category:noh|suō]]<br /> <br /> ==Roles and Draping==<br /> Samurai wore suō during the Edo period, and in noh and kyōgen the costume is used for corresponding roles, like Sano no Tsuneyo in ''[[Hachi no Ki]]'' [[鉢の木]]. The shite of ''[[Matsumushi]]'' [[松虫]], a commoner, wears a simpler version combining the suō top with ''[[ōkuchi]]'' [[大口]]. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00029/no33-00029_002.jpg<br /> <br /> ==Tailoring and Textile Features==<br /> Like hitatare, suō are tailored from plain weave hemp fabric that has been dyed with paste-resist designs. The paste may be applied through a stencil to form repetitive patterns, or through a funnel to create free-hand painterly designs.<br /> <br /> Basically an unlined ''[[hitatare]]'' [[直垂]], the suō upper garment has open cuffs, double-width sleeves and short front panels that are tucked into the pleated trousers, which come in two styles: the formal long trailing ''[[nagabakama]]'' and simplified ankle-length ''[[hanbakama]]''. The upper garment can also be worn with unmatched trousers, like ōkuchi. The suō differs from the hitatare in having family crests at the center back and sleeve seams and in lacking the reinforcement cloth strips and tassels on the sleeves. <br /> <br /> ==Designs and Colors==<br /> Family crests are placed high along the center back seam and sleeve seams. Designs may be small motifs in white stenciled repeats on a blue, brown, green, or black background or they may be large painterly hand-drawn designs incorporating four or five colors. Some suō designs make dynamic use of large color blocks. Below is an example with a jagged &quot;pine-bark&quot; separation of back and tan blocks.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00016.jpg<br /> <br /> Suō with rain dragons in diamonds on a black and tan divided ground with pine-bark lozenge border.<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0059498<br /> <br /> ==Contributor==<br /> <br /> Monica Bethe<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Maiginu&diff=93767 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>まいぎぬ　[[舞衣]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|maiginu]]<br /> <br /> ==Roles and Draping==<br /> This dancing cloak is worn for roles of women in the fourth category noh. The daughter of the dragon king ''[[Ama]]'' [[海人]] appears in a maiginu bound at the waist and draped over ''[[ōkuchi]]'' [[大口]], while the wife of the drum player Fuji wears a maiginu over a ''[[nuihaku]]'' to dance ''gaku'' (''[[Umegae]]'' [[梅枝]], ''[[Fujidaiko]]'' [[富士太鼓]]). <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00024/no33-00024_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00025/no33-00025_002.jpg<br /> <br /> ==Textile Features and Tailoring==<br /> Like chōken, maiginu are fashioned out of gossamer fabrics that catch in the breeze, such as ribbed gauze (''ro'') or simple gauze weave (''sha'') that might be self-patterned. Supplementary patterning is done in gold, silver or colored threads. In rare instances, designs may be painted, stenciled, or embroidered. The long main panels are sewn together front to back from waist level down and the front panels have extra lapels so they overlap over the chest when the garment is belted. The open cuff, double-width sleeves lack the tassels at the outer corner found on chōken. Maiginu also do not have tying cords at the chest. <br /> <br /> ==Designs and Colors==<br /> Scrolling vines and floral motifs scattered over the entire garment are common, as are geometric patterns like undulating lines, diagonal grids, and roundels. Ground colors include purple, red, gray, white, and occasionally blocks of more than one color.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00015.jpg<br /> <br /> Maiginu with flower boxes on a red ground. 18th century. Tokyo National Museum<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0019101<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Sobatsugi&diff=93766 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>そばつぎ　[[側次]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|sobatsugi]]<br /> <br /> ==Roles and Draping==<br /> This costume is used for roles of women from China (''[[Kureha]]'' [[呉服]]). The sobatsugi is draped so it hangs straight over a ''[[kosode]]''. For roles of fierce deities (''[[Kinsatsu]]'' [[金札]]) and warriors (Soga brothers in ''[[Youchi Soga]]'' [[夜討曽我]]), the sobatsugi is worn over ''[[hangiri]]'' [[半切]] or ''[[ōkuchi]]'' [[大口]] and belted at the waist. As such it substitutes for a happi with hiked up sleeves, providing easier mobility. Kyōgen roles of low-ranking Chinese officials wear a sobatsugi over ankle-bound ''momohiki'' trousers.<br /> <br /> ==Textile Features and Tailoring==<br /> The knee-length sobatsugi has a narrow, straight collar that runs almost down to the hem and cloth bands joining the front and back panels at the hem and is always lined. Like happi, sobatsugi have designs rendered in colored thread and/or gold and silver thread on a solid ground, which may be satin, twill, or possibly plain weave. A few have embroidered designs.<br /> <br /> ==Designs and Colors==<br /> Many of the designs have a Chinese flavor, like dragons among clouds, or classic geometric forms. When used to imitate armor, sobatsugi with bold patterns in gold against a navy, green, brown, or white background are favored. For Chinese roles, the designs tend to be denser, possibly smaller, and include multi-colored threads. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00012.jpg <br /> <br /> Sobatsugi with cobblestone squares and various treasures on a gold ground. 18th century. Tokyo National Museum<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0019085<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=N%C5%8Dshi&diff=93765 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> のうし　[[直衣]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===XXXX===<br /> ===XXXX===<br /> ==Private==<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Noshime&diff=93764 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>のしめ　[[熨斗目]]<br /> <br /> A '''''noshime''''' is a small-sleeved (''[[kosode]]'' [[小袖]]) noh costume of a plain weave silk, either monochrome or with bands of different colors worn for lower-class male roles. In noh, noshime serve as undergarments for a variety of characters, especially monks, common men, low-ranking samurai, and sometimes old women. In kyōgen, noshime are also used for characters of daimyō.<br /> ----<br /> <br /> =Noh Kyogen=<br /> [[Category:noh|noshime]]<br /> <br /> ==Roles and Draping==<br /> Traveling priests wear plain-color noshime under a ''[[mizugoromo]]'' [[水衣]], with or without ''[[ōkuchi]]'' [[大口]]. Servants don a noshime under ''[[kamishimo]]'' [[裃]] matched suits with wing sleeves, while daimyō wear them under the more elaborate ''[[hitatare]]'' [[直垂]] matched suits. When preparing for action, the outer jacket might be shed, exposing the noshime tucked into the pleated trousers in a draping known as ''mogidō''. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00016/no33-00016_003.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00015/no33-00015_003.jpg<br /> <br /> ==Textile features and tailoring==<br /> <br /> Glossed silk wefts are woven in plain weave into raw (unglossed) silk warps. A wavy texture can be added by varying the thickness of some of the threads. Noshime are tailored in a standard T-shape kosode with the outer edge of the sleeves below the wrist opening sewn together. <br /> <br /> ==Designs and Colors==<br /> While many noshime are a single solid color, such as navy, brown, green or tan, some have horizontal bands of contrasting colors or bands of tie-dyed (''kasuri'') checks. Very often the waist area is left white (''koshiaki'') or filled with textured checks. Stripes and bands are considered higher class than simple plain-colored noshime.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00006.jpg<br /> <br /> Noshime. brown with blue band at the waist. 18th century. Tokyo National Museum.<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0009038<br /> <br /> ==Contributor==<br /> Monica Bethe<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E5%94%90%E7%B9%94&diff=93763 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>からおり　[[Karaori]]　<br /> ----<br /> =能狂言=<br /> [[Category:能狂言|ひらがな]]<br /> <br /> あああああああああああ・・・・<br /> ===XXXX===<br /> いいいいいいいいい・・・・・・<br /> ===XXXX===<br /> うううううううううう・・・・・<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===XXXX===<br /> ===XXXX===<br /> ==Private==<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E6%B8%8B%E8%B0%B7%E9%87%91%E7%8E%8B%E4%B8%B8&diff=93762 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>タイトルのひらがな　[[English Romaji]]　<br /> ----<br /> =能狂言=<br /> [[Category:能狂言|ひらがな]]<br /> <br /> あああああああああああ・・・・<br /> ===XXXX===<br /> いいいいいいいいい・・・・・・<br /> ===XXXX===<br /> うううううううううう・・・・・<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===XXXX===<br /> ===XXXX===<br /> ==Private==<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Ch%C5%8Dry%C5%8D&diff=93761 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>ちょうりょう　[[張良]]　<br /> ----<br /> <br /> =能狂言=<br /> A noh play by Kanze Kojirō [[Nobumitsu]] 観世小次郎信光 (1435-1516) based on an old Chinese legend about Chōryō, who receives a secret military treatise for picking up a dropped shoe.<br /> <br /> ===Background===<br /> Category: Two-act, fifth category play <br /> <br /> Characters: <br /> <br /> ==Shite: old man<br /> <br /> ==Nochi-jite: Kōsekikō<br /> <br /> ==Waki: Chōryō<br /> <br /> ==Kyōgen: Chōryō’s subordinate<br /> <br /> ==Tsure: Kannon (Goddess of Mercy)<br /> <br /> Setting: Kahi, a province in Kan (Han) China. <br /> <br /> Props:Two platforms representing a bridge, shoe<br /> <br /> <br /> ===Synopsis===<br /> Chōryō, while on his way to meet a mysterious old man whom he encountered in a dream, tells the story of how in his dream he helped put on the old man’s shoe upon his demand. After Chōryō has respectfully done so, the old man arranges for a meeting and promises that he will then hand over a secret treatise of military training to Chōryō. Upon arrival Chōryō finds that the old man is already there. After being chided for his tardiness, Chōryō is told to go back and meet the old man again in five days’ time. <br /> <br /> The kyōgen, one of Chōryō’s subordinates, enters and retells the story. He introduces the old man as Kōsekikō, who wants to help the Kan emperor, Kōso, win his battle by giving Chōryō who is the Kan emperor’s minister a secret military treatise. <br /> <br /> In Act Two, Chōryō appears with more elaborate costumes and carries a sword. Kōsekikō, too, dons a more formal outfit and carries with him a scroll. Chōryō’s final test is to retrieve the old man’s shoes from the river where a giant dragon-like creature awaits him. Chōryō bravely pulls out his sword and the creature gives in. Upon receiving his shoes, Kōsekikō hands Chōryō the secret treatise and explains that the creature in the river is actually Kannon, who was testing Chōryō’s sincerity and will become his Guardian Deity from now. With that final disclosure, Kōsekikō returns to the high mountains and turns into a large, yellow boulder.<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Atagok%C5%ABya&diff=93760 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>あたごくうや　[[愛宕空也]]　<br /> ----<br /> =能狂言=<br /> Alternate name: ''Atago'' 愛宕. (Priest Kūya at Atago). A fifth-category demon play by Kanze Kojirō [[Nobumitsu]] 観世小次郎信光 (1435-1516).<br /> ===Background===<br /> Category: Two act Demon play<br /> <br /> Characters: <br /> <br /> ==Shite: old man<br /> <br /> ==Nochi-jite: Dragon King<br /> <br /> ==Waki: Priest Kūya<br /> <br /> Setting: Kyoto, Mt. Atago<br /> <br /> Props: A paper scroll<br /> <br /> <br /> ===Synopsis===<br /> The waki, a traveling priest called Kūya, visits Mt. Atago. While he is preaching, an old man appears and asks Priest Kūya for the Shari – relic of the Buddha – to help cure his three sufferings. The old man reveals that he is the Dragon King who lives in Mt. Atago. The Dragon King informs Priest Kūya that the Buddhist Shari is hidden in the scroll of Buddhist scripture. They find the Shari in the scroll and the grateful Dragon King grants Priest Kūya a wish. The priest asks that water be brought to this mountain so that residents of the mountain do not have to go afar for fresh water. After the kyōgen interlude, the Dragon God keeps his promise by breaking up a big boulder, whereby water gushes out. The Dragon God then disappears into the faraway valley.<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=MediaWiki:NewArticleTemplate&diff=93759 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>タイトルのひらがな　[[English Romaji]]　<br /> ----<br /> =能狂言=<br /> [[Category:能狂言|ひらがな]]<br /> <br /> あああああああああああ・・・・<br /> ===XXXX===<br /> いいいいいいいいい・・・・・・<br /> ===XXXX===<br /> うううううううううう・・・・・<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===XXXX===<br /> ===XXXX===<br /> ==Private==<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Ba&diff=93758 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div><br /> ば　[[場]]<br /> ----<br /> =Noh Kyogen=<br /> [[category:noh]]<br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E5%A4%A7%E5%8F%A3&diff=93757 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>おおぐち [[Ōguchi]]（歌舞伎） [[Ōkuchi]]（能狂言）<br /> ----<br /> =能狂言=<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E6%95%A6%E7%9B%9B&diff=93756 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>あつもり　[[Atsumori]]<br /> ----<br /> =歌舞伎=<br /> =能狂言=<br /> 能の作品名。作者：[[世阿弥]]<br /> ===あらすじ===<br /> 一の谷の合戦で若い平敦盛を手にかけた熊谷次郎直実は、悔いて出家し、敦盛の菩提を弔おうと、再び須磨一の谷を訪れる。<br /> そこへ笛の音が聞こえてきて、草苅の男たちが現れる。草苅の身に似合わぬ風流な振舞いと思い声を掛けた蓮生に、男たちは、「樵歌牧笛」と昔から言うように笛は草苅にふさわしく、そればかりか歌も器楽も舞も、みな同じこの世の人の風流な業ではないかと反論するのである。<br /> その後一人の男を除いて、他の者は帰っていく。残った男は、自分は敦盛の縁故の者なので十念を授けてほしいと言い出し、蓮生がそのとおりにすると、男は、実は自分はあなたが日夜弔っている敦盛だと明かして姿を消す。<br /> (中入)<br /> 蓮生が夜通しの回向を思い立ち、念仏を称えていると、敦盛の霊が甲冑を身につけたうら若い姿で現れる。二人は、以前は敵であったが、今は互いに成仏を願う友であることを確認し合う。<br /> 敦盛は蓮生を前に、平家一門の悲しい都落ちの様子や、一の谷の合戦前夜に敦盛たちが城で歌舞に興じたさまを語って舞を舞い(中ノ舞)、その後敦盛が味方の舟に乗り遅れ、一人で熊谷との討ち合いに臨んだいきさつを語る。語りながら修羅の気分の昂じた敦盛の霊は、時めぐって今また熊谷に出会ったと、蓮生にいったん討ちかかるが、それでも弔いを続ける蓮生の姿に、やはり二人は敵ではなかったのだと思い直し、重ねて回向を頼み、去っていくのであった。<br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E8%B6%B3%E5%88%A9%E7%BE%A9%E6%BA%80&diff=93755 2025-05-07T00:00:04Z

<p>WikiSysop: </p> <hr /> <div>あしかがよしみつ [[Ashikaga Yoshimitsu]]<br /> ----<br /> =能狂言=<br /> 1358―1408。室町幕府三代将軍。能の大成に大きく関わった。<br /> <br /> 義満は、将軍職を[[義持]]に譲り大御所となった応永元年(1394)の後にも、応永十五年(1408)に没するまで、最高権力者として君臨した。<br /> <br /> 能の大成者の一人である観阿弥が催した勧進能を見物した義満は、その芸のすばらしさに感服し、これ以降、猿楽の能役者を後援するようになった。それまでの幕府は、田楽の能役者だけを後援していたのである。したがって、猿楽の能役者にとっては、この勧進能は歴史的な大きい出来事であった。<br /> <br /> その勧進能に父観阿弥と共に出演した世阿弥は、美童であったと推測され、義満に寵愛ちょうあいされ、それによって義満近侍きんじの公家くげとも親しく交わる機会を得て、当時の上層文化を吸収したと考えられる。連歌に秀でた二条良基にじょうよしもとなどとの具体的な交流もあったと推測される。このような上層階級との交流は、後の世阿弥の作能に大きな影響を与えたと考えられている。<br /> <br /> また、観阿弥の勧進能を観覧した後の義満は、観阿弥に続いて近江猿楽の犬王(後に道阿弥と称する)という能役者の藝を好み、観阿弥の後には、世阿弥を凌いで、犬王が能界の第一人者の地位を得た。その後義満は没するまで、犬王を世阿弥よりも優遇したようであるが、それは世阿弥が冷遇されたという意味ではなく、二人の年齢的な差による藝の円熟度もかかわっているのかもしれない。<br /> <br /> 世阿弥も、変わらずに義満の後援を受け、室町幕府の御用役者的地位を得ていた。そしてその期待に応えるために、世阿弥は数多くの能を作ったとされる。そのようにして作られた世阿弥の作品は、そのほとんどが現在でも名作として頻繁に上演されている。<br /> <br /> 応永六年に、世阿弥は京都一条竹ヶ鼻で勧進能を催した。義満後援のもとに行われたこの勧進能によって、世阿弥は当時の猿楽の能の第一人者と認められたと見られている。<br /> <br /> 観阿弥・犬王（道阿弥）・世阿弥という優れた役者が世に現れ、猿楽の能が芸術と言いうるような変質を遂げたのは、為政者足利義満の権力によるところが大きかったと言えるだろう。<br /> <br /> <br /> <br /> </div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Kosode&diff=16098 2018-05-02T23:22:36Z

<p>WikiSysop: </p> <hr /> <div>こそで　[[小袖]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===Kosode Construction===<br /> <br /> The Edo-period kosode was constructed of two sleeve panels and two body panels, all cut from a material some 38 centimeters wide. In addition it had two half-width lapels attached one to each of the front panels and a collar that runs around the neck and edges the front panels. Earlier kosode often had wider body panels and half-width sleeves. The sleeves of the kosode are sewn up at the outer edge till the wrists, creating a sleeve pocket. Kosode worn in noh have sleeves sewn completely to the body panels, but the sleeves on Edo-period street kosode often were only stitched to the body from the shoulder to chest level, leaving the lower portion of the sleeves unattached. This made possible varying the vertical length of the sleeves, the longer ones being known as ''furisode''. In the noh child roles can be dressed in furisode. <br /> <br /> <br /> ===Kosode Types Used in Noh and Kyōgen===<br /> <br /> Kosode are the basic body cover for noh outfit, though other garments may be placed on top of them. The ''[[surihaku]]'' [[摺箔]]and ''[[noshime]]'' [[熨斗目]]serve as under robes for women and men respectively, while the ''[[karaori]]''　[[唐織]], ''[[nuihaku]]'' [[縫白]]、 and ''[[atsuita]]'' [[厚板]] can function either as outer garments or be worn under another garment.</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Happi&diff=16063 2018-05-01T23:24:10Z

<p>WikiSysop: </p> <hr /> <div>はっぴ　[[法被]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|Happi]<br /> ===Roles and draping===<br /> <br /> For demons and lesser deities, the happi is belted over ''[[hangiri]]'' [[半切]] with the wide sleeves falling free. Various headdresses and wigs distinguish the characters. Warriors might wear the happi with the right sleeve slipped off (''nugisage'') so they can wield a sword or halberd (''[[Yashima]]'' [[屋島]] or with both sleeves hiked up (''[[Funa Benkei]]'' [[船弁慶]]. The Chinese boy who guards the elixir of long life, Kikujidō, also has the right sleeve slipped off, but carries a round Chinese fan. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00012/no33-00012_002.jpg<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00011/no33-00011_002.jpg<br /> <br /> <br /> ===Textile features and Tailoring===<br /> <br /> The happi has double-width, open cuffed sleeves attached around the shoulder area to three-quarter length body panels. The front panels have no extra lapels, but are edged by a straight collar. The cloth bands at the hem of the body panels connecting front to back at the side are a salient feature. Lined happi are woven with a twill or satin foundation and supplementary weft patterning, often in gold or silver thread. The gossamer unlined happi are woven in simple gauze weave (''sha'') or ribbed gauze (''ro'') with supplementary patterning in gold, silver, or colored threads. Some happi have stenciled or painted designs.<br /> <br /> ===Designs and Colors===<br /> <br /> Lined happi have bold designs that are often geometric or suggestive of Chinese imagery, with larger motifs predominantly used for stronger characters, like demons and bandits. Background colors may be white, blue, green, or purple. Unlined happi can be either plain or patterned with arabesques, insects, flowers, or court motifs (''yūsoku monyō'' on white, blue, green, or purple grounds. (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00011.jpg<br /> <br /> Unlined happi with karahana flower patterns on a green ground. Edo period. Tokyo National Museum.<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0065512</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Kariginu&diff=16060 2018-05-01T23:24:08Z

<p>WikiSysop: </p> <hr /> <div>かりぎぬ　[[狩衣]]<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|kariginu]]<br /> ===Roles and Draping Styles===<br /> <br /> Despite the wide range of characters, both human and supernatural, that wear ''kariginu'' there is only one basic draping: the body lapels are bound at the waist so they hang loosely over the belt and the hem covers the top third of the wide divided skirts, which may be ''[[ōkuchi]]'' (ministers, notably ''[[waki]]'' roles in many first-category plays) or ''[[hangiri]]'' (supernatural beings, such as the Thunder God in ''[[Kamo]]'' 『[[加茂]]』 or the tengu in ''[[Kurama Tengu]]''『[[鞍馬天狗]]』) or ''[[sashinuki]]'' [[指貫]] (courtiers, as in ''[[Unrin'in]]''『[[雲林院]]』 and ''[[Tōru]]''『[[融]]』). An alternative draping for warriors involves folding under the round collar and hiking up the sleeves.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00021/no33-00021_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00022/no33-00022_002.jpg<br /> <br /> ===Tailoring===<br /> <br /> A three-quarter length robe is distinguished by the round collar with overlapping narrow front panels and double-width sleeves open at the cuffs. The seams connecting the sleeves to the center panels are short and mostly at the back, so that the drape over the chest remains independent of the movement of the sleeves.The round collar (sometimes squared off) is a feature shared with court costumes that are based on ancient Chinese styles. Cords attached at the edge of the collar on the left overlapping front panel are used to fasten the collar to the right panel. Other cords are laced through narrow cloth strips along the edge of the sleeves. This reflects the origin of the garment as a 'hunting cloak' (''kari''=hunt, ''kinu''=garment). When out on a hunt, the oversized sleeves could be bound at the wrist with these cords. In everyday life, ''kariginu'' were worn as informal wear by the Heian nobility and later as formal wear by the military aristocracy. The ''kariginu'' can either be lined (''[[awase]]'') or unlined (''[[hitoe]]''). <br /> <br /> ===Textile Features===<br /> Most typically lined ''kariginu'' use a solid-ground weave such a satin or twill with gold or silver or colored silk thread supplementary patterning. When gold designs are set against a dark ground, it is common to use an extra yellow or red warp in a lampas weave to hold down the pattern threads so as not to dull their impact. Multi-colored supplementary patterning on twill or satin gives a more refined effect. Figured satin, double weave, and embroidery are alternative decorative techniques. Old ''kariginu'' are often made from imported fabrics (''meibutsu gire'') or imitations thereof.<br /> <br /> Unlined ''kariginu'' are woven of thin, gossamer material. They are worn by elegant courtiers, young warrior courtiers who die in battle, and aged spirits of plants. The weaves include gold patterning on ribbed gauze weave (''rokin''), patterning with supplementary colored threads on plain gauze weave (''sha'') or self-patterned plain gauze weave (''monsha''). For a more rustic feel, monotone coarse plain weave with displaced wefts (''yore'') is also possible.<br /> <br /> ===Designs and Colors===<br /> Lined ''kariginu'' worn by strong characters tend to have dark solid color grounds such as deep red, indigo blue, or green with large geometric patterns in gold or silver. For aristocratic characters, the ground color might be white or light yellow, or it might have multi-colored smaller repeat patterns. These can be geometric, like the Okina ''kariginu'' pattern of interlocking hexagons and squares, but might also be derived from nature, such as flower scrolls. <br /> <br /> Unlined ''kariginu'' tend to be a gentler blue, green, cream, or white and have designs reminiscent of court patterns (''yūsoku monyō''). (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00009.jpg<br /> <br /> Kariginu with paulownia and scattered squares on a dark blue ground. 18th c. Tokyo National Museum<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0016128</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Ch%C5%8Dken&diff=16059 2018-05-01T23:24:07Z

<p>WikiSysop: </p> <hr /> <div>ちょうけん　[[長絹]]　<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|chōken costume]]<br /> ===Roles and Draping Styles===<br /> <br /> Women performing long instrumental dances (''maigoto'') wear ''chōken'' draped loosely over the shoulders and hanging free so that the whole costume flows with the body movement. The Celestial Maiden in ''[[Hagoromo]]'' [[羽衣]] and the Iris Spirit in ''[[Kakitsubata]]'' [[杜若]] wear a ''chōken'' over a ''koshimaki'' outfit, where a ''[[nuihaku]]'' [[縫箔]] is folded down at the waist. Court Women, like Lady Rokujō in ''[[Nonomiya]]'' [[野宮]] wear their ''chōken'' falling loosely over ''[[ōkuchi]]'' 大口 pleated trousers. For children, like the boy dancer in ''[[Kantan]]'' [[邯鄲]], the body panels of the ''chōken'' are bound at the waist, so they rest snug against the ''ōkuchi''. Warrior courtiers, like Atsumori 敦盛 and Tadanori 忠度, also wear the ''chōken'' bound at the waist over ''ōkuchi'', but the right sleeve of the ''chōken'' is also slipped off, rolled up, and tucked into the belt at the back to facilitate wielding a sword. <br /> <br /> [[File:no33-00007 002.jpg|200 px|left|thumb|alt=Chōken over ōkuchi|Chōken over ōkuchi.]]<br /> [[File:no33-00010_002.jpg|200 px|left|thumb|alt=Warrior chōken|Warrior chōken.]]<br /> <br /> &lt;br clear=all&gt;<br /> <br /> ===Textile Features and Tailoring===<br /> The gossamer lightness of the ''chōken'' derives from its being tailored from very thin fabric. Most common is ribbed gauze (''ro'' 絽), but simple gauze (''sha'' 紗), sometimes with woven structural or gold patterns, and thin plain weave are alternatives. Patterning is usually done on the loom, often by weaving in strips of gold foil or colored threads, but examples of hand painting, stenciled patterns, appliqué, and embroidery can also be found.<br /> <br /> The ''chōken'' sleeves are made from two weaving widths and have open cuffs. They are sewn to the body panels at the shoulder. The body panels are stitched together along the center back and allowed to hang free at the front. A narrow collar reaches almost to the hem of the 3/4 length body panels. Braided tassels are attached to the outer corner of the sleeves and braided tying cords are sewn to the front panels at chest level.<br /> <br /> ===Designs and Colors===<br /> Ground colors include white, yellow, crimson, purple worn generally by women, and blue, green, and brown favored for male roles. Tying cords hanging from the chest and tassels at the bottom corner of the sleeves are red, yellow, purple, or green. Two styles of designs are common: (1) overall patterns, like scrolling vines or pictorial images and (2) a combination of large crests on the chest and sleeves with lighter, scattered motifs along the hem. (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00014.jpg<br /> [[http://webarchives.tnm.jp/imgsearch/show/C0019089]]<br /> <br /> Chōken with flower bundles and paulownia on a purple ground. 紫地花熨斗桐模様長絹. Mid-Edo period (18th century). Tokyo National Museum. [[http://webarchives.tnm.jp/]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Karaori&diff=16054 2018-05-01T23:24:04Z

<p>WikiSysop: </p> <hr /> <div>[[唐織]]　からおり<br /> <br /> <br /> The '''''karaori''''' is a kosode-style 小袖 noh costume brocaded with floral and other designs using floated wefts of various colors and is worn primarily for women's roles. Draped differently, it can be worn as the main garment, as an outer robe tucked up over another garment, and as an under garment.<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|Karaori]]<br /> <br /> ==Roles and Draping==<br /> Karaori are a standard garb for shite roles of women appearing in the first part of a noh and for many tsure roles. The shite of ''[[Izutsu]]'' [[井筒]], ''[[Kamo]]'' [[賀茂]], ''[[Nonomiya]]'' [[ 野宮]], and ''[[Funa Benkei]]'' [[船弁慶]] wear the karaori as an outer garment and draped &quot;straight&quot; with an open V over the chest (''[[kinagashi]]'' [[着流し]]). Crazed women, like Sakagami in ''[[Semimaru]]'' [[蝉丸]] and women at work, like the tsure in ''[[Eguchi]]'' [[江口]], have one sleeve slipped off (''[[nugisage]]'' [[脱下]]). Karaori draped over divided skirts and tucked up at the waist (''[[tsubo-ori]]'' [[壷折]]) are worn by high ranking women, like the imperial consort in ''[[Yōkihi]]'' [[楊貴妃]], and by sprites like ''[[Shōjō]]'' [[猩々]]. For the role of the dancer in ''[[Dōjōji]]'' [[道成寺]], the karaori is tucked up at the waist and draped over another kosode garment. In addition, a karaori can be worn as an undergarment by warrior courtiers, such as ''[[Atsumori]]'' [[敦盛]] and ''[[Tsunemasa]]'' [[経正]]. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00001_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00002_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00003_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00004_002.jpg<br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00010_004.jpg<br /> <br /> ==Textile Features and Tailoring==<br /> The karaori textile consists of a ground twill (usually 3 harness) and supplementary weft patterning. The ground may be a single color or form a large checkerboard pattern known as ''[[dangawari]]'', created by tie-dyeing the warp (''ikat, kasuri'') into bands of color. The patterning silk floss rises above the densely packed ground to create the effect of three-dimensional embroidery. Each repeat of the pattern unit distributes the colored threads differently, creating an effect of infinite variety. The incorporation of gold thread adds an extra layer. <br /> <br /> The box sleeves of the karaori are stitched up at the outer edge till the wrist and are sewn to the body panels. Extra front lapels and a wide collar provide enough breadth to cross the front garment over the chest and secure it with sashes at the waist.<br /> <br /> ==Designs and Colors==<br /> Seasonal floral designs predominate. Other motifs include imagery from the classics, like the Tale of Genji, or waka poems. These often appear as float patterns over a background repeat motif, such as waves, diamonds, running water, or lattices. Young women wear karaori that include red and are referred to as &quot;with color&quot; (''iro-iri'') , while older women's karaori have little or no red and are designated as &quot;without color&quot; (''ironashi'').<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00002.jpg<br /> [[http://webarchives.tnm.jp/imgsearch/show/C0077856]]<br /> <br /> Karaori with design of peonies and long-tailed birds on alternating blocks of red, brown, and tan<br /> 紅茶淡茶段雷文繋牡丹尾長鳥模様唐織. Edo period. Tokyo National Museum [[http://webarchives.tnm.jp/]]<br /> <br /> ==Author==<br /> Monica Bethe</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Atsuita&diff=16002 2018-04-29T23:19:22Z

<p>WikiSysop: </p> <hr /> <div>あついた　[[厚板]]<br /> ----<br /> =能狂言=<br /> =Noh Kyogen=<br /> <br /> ===Roles and Draping===<br /> Old men in the first half of a noh wear atsuita woven with checks in a dense silk twill as a ''kitsuke'' under ''[[mizugoromo]]'' [[水衣]], either combined with ''[[ōkuchi]]'' [[大口]] (''[[Takasago]]'' 『[[高砂]]』) or without (''[[Tenko]]''『[[天鼓]]』). Warrior courtiers don an atsuita under ''[[chōken]]'' [[長絹]] or ''[[happi]]'' [[法被]]. Old women might drape an atsuita tucked up at the waist (''tsuboori'') as an outer robe over another kosode garment. <br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00019/no33-00019_004.jpg<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00010/no33-00010_004.jpg<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costume_drawings_33/no33-00004/no33-00004_002.jpg<br /> <br /> <br /> ===Textile Features and Tailoring===<br /> <br /> The thick atsuita material is woven with a six-harness twill foundation. The geometric and other designs are rendered in different colored threads woven as supplementary patterning with glossed silk wefts. This patterning technique and the tailoring of the garment are similar to those for the ''karaori''. Atsuita intended exclusively as under garments with only the upper portion partially exposed might be tailored to a three-quarter length.<br /> <br /> ===Designs and Colors===<br /> <br /> Background patterns are often geometric, such as checks, linked hexagons, concentric diamonds, triangles, or bold zigzag lines. Motifs include Chinese imagery, such as temple gongs, ''shishi'' lions among peonies, and dragons in clouds.<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/costumes_23/no23-00005.jpg<br /> <br /> Atsuita with design of wisteria rounds over linked hexagons. Edo period. Tokyo National Museum.<br /> <br /> http://webarchives.tnm.jp/imgsearch/show/C0016122<br /> <br /> ===Author===<br /> Monica Bethe<br /> <br /> [[Category:noh|Atsuita]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Hakushiji-j%C5%8D&diff=15698 2018-04-17T23:02:44Z

<p>WikiSysop: </p> <hr /> <div><br /> はくしきじょう[[白式尉]]<br /> <br /> The white faced Hakushiki-jō mask, also known as [[Okina]] [[翁]], portrays a happy old man and is used in noh and festival performances of [[Shikisanban]] [[式三番]]. <br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|hakushikijō]<br /> <br /> ===Mask characteristics===<br /> Deep wrinkles form round patterns on his forehead and cheeks. The wavy slit eyes brim with mirth, and the joyful mouth exposes only a few stubs of teeth. The separate chin (kiriago) 切り顎 is attached by means of hemp cords passed through holes in the upper and lower jaw and waggles as the actor chants his lines. Among noh masks, this feature is unique to the Shikisanban masks. The Hakushiki-jō mask has a sparse, long white beard and pompoms made of hemp that are glued on for eyebrows. A black horizontal strip at the upper edge of the mask indicates the line where the mask meets a black lacquer hat worn in performance. Hakushiki-jō masks come in various sizes, ranging from quite large to considerably smaller than the human face. <br /> <br /> ===Mask background===<br /> <br /> The Hakushiki-jō Okina mask has been considered divine. Along with the other Shikisanban masks, such as the black Kokushiki-jō worn by the [[Sanbasō]] [[三番叟]] player, Hakushiki-jō was set up on an altar and worshiped with ritual reverence before the performance began. Carrying it out on stage in a box and donning it in front of the audience also underscores its divinity, clearly distinguishing the actor (a man) from the masked figure filled with its spirit. Along the same lines, the Okina masks differ from other noh masks in the stylization of their features, so while other noh masks will subtly change expression with movement and shifting shadows to reflect complex emotions, Okina masks always exude a warm beneficence.<br /> <br /> Although legend attributes the oldest Okina masks to the seventh century Prince Shōtoku, the oldest Hakushiki-jo mask identified by an original dated inscription is a 1278 mask in the Ethnologisches Museum, Staatliche Museen zu Berlin. The next oldest with a dated inscription to 1477 is one in Itsukushima Shrine, Hiroshima, but numerous others from the fourteenth and fifteenth century have been preserved in Shrines, particularly in and around the Kansai area. Each of the noh schools also treasure old Okina masks. (MB)<br /> <br /> http://www.arc.ritsumei.ac.jp/archive01/theater/th_image/PB/PJ/glopac/nogaku/masks_22/no22-00002/no22-00002_001.jpg</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E6%91%BA%E7%AE%94&diff=14436 2018-02-01T18:16:09Z

<p>WikiSysop: </p> <hr /> <div>すりはく　[[surihaku]]　<br /> ----<br /> =Noh Kyogen=<br /> [[Category:noh|title or Romoaji]<br /> ===XXXX===<br /> ===XXXX===<br /> ==Private==</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Nobumitsu&diff=13535 2017-10-23T18:25:42Z

<p>WikiSysop: </p> <hr /> <div>かんぜこじろうのぶみつ　[[観世小次郎信光]]　<br /> ----<br /> =能狂言=<br /> Kanze Kojirō Nobumitsu 1435-1516, noh actor, drummer, playwright, and theoretician. <br /> ===Biography===<br /> Seventh son of eminent noh actor Kanze Saburō Motoshige (1398–1467), more commonly known as On’ami, Kanze Kōjirō Nobumitsu (1435-1516) learned to play drums. After his elder brother Matasaburō Masamori (? -1470) died leaving a young child as the next troupe leader, Nobumitsu took over his training and support. He is known today mostly for the dramatic plays he wrote employing many people on stage at one time, often labeled furyū style. Nobumitsu led the Kanze troupe through the difficult period of the Ōnin wars. Nobumitsu’s leadership enabled the Kanze family to maintain its important position as one of the major noh troupes.<br /> <br /> ===Writings===<br /> ==Noh Plays==<br /> <br /> Plays still performed:<br /> * [[Atagokūya]] (Atago) [[愛宕空也]], (愛宕)<br /> * [[Chōryō]] [[張良]]<br /> * [[Funa Benkei]] [[船弁慶]]<br /> * [[Kochō]] [[胡蝶]]<br /> * [[Kōtei]] (Myō-ō-kyō) [[皇帝]], 明王鏡<br /> * [[Kusenoto]] [[九世戸]]<br /> * [[Momijigari]] (Koremochi) [[紅葉狩]]（惟茂）<br /> * [[Orochi]] [[大蛇]]<br /> * [[Rashōmon]] (Tsuna) [[羅生門]]　綱<br /> * [[Ryōko]] [[龍虎]]<br /> * [[Tama no I]] [[玉井]]<br /> * [[Yoshino Tennin]] [[吉野天人]] <br /> * [[Yugyōyanagi]] [[遊行柳]]<br /> <br /> Plays that are no longer performed<br /> * [[Fuji]] [[富士]] <br /> * [[Futari Miko]] [[二人神子]]<br /> * [[Haen]] [[巴園]]<br /> * [[Hikami]] [[氷上]]<br /> * [[Hoshi]] (Kōso, Kan no Kōso) (1452) [[星]] 高祖 漢の高祖<br /> * [[Itaten]] [[韋駄天]]<br /> * [[Kamei]] [[亀井]]<br /> * [[Kibune]] [[貴船]]<br /> * [[Mitsusue]] [[満季]]<br /> * [[Murayama]] [[村山]]<br /> * [[Taisei Taishi]] [[太施太子]]<br /> * [[Tomotada]] [[知忠]]<br /> <br /> Plays that are no longer extant <br /> * Jō no Tarō 城の太郎<br /> * Kōbōjo けうぼう女<br /> * Miidera Zenji 三井寺前師（禅師）<br /> * Morinaga 盛長<br /> * Rōtosha 労度差<br /> * Yasusada 保貞<br /> <br /> ==Treatises==<br /> <br /> * Kanze Kōjirō Gonnogami Densho (The teaching of Kanze Kojirō Gonnogami, 1492). This text, untranscribed, can be found in the collection of the Kanze Shinkurō family. See Nō Kyūgen II, 1988.<br /> *Koezukaukoto (On Chanting, 1511). This text is discussed in Omote Akira’s Nōgakushi Shinkō.<br /> <br /> ===Reference===<br /> Lim Beng Choo. ''Another Stage: Kanze Nobumitsu and the Late Muromachi Noh Theater''. Cornell East Asia Series 163, 2012.<br /> <br /> MB based on LBC<br /> <br /> [[Category:noh|能]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Shodan&diff=13534 2017-10-23T18:25:42Z

<p>WikiSysop: </p> <hr /> <div>=総合=<br /> ----<br /> =能狂言=<br /> #転送 [[Shōdan]]<br /> <br /> [[category:Noh|Shodan]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Zat%C5%8D&diff=13533 2017-10-23T18:25:42Z

<p>WikiSysop: </p> <hr /> <div>[[座頭]] ざとう　<br /> ----<br /> =能狂言=<br /> A general term for blind men in priest's costume who played the Biwa and the Koto, Japanese instruments, and applied massage and acupuncture as profession in pre-modern Japan. And it also meant blind men who played narrative songs.<br /> <br /> [[Category:noh|Zatō]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Mizugoromo&diff=13531 2017-10-23T18:25:42Z

<p>WikiSysop: </p> <hr /> <div>[[水衣]]　みずごろも<br /> ----<br /> =能狂言=<br /> The ''mizugoromo'' noh costume is an outer &quot;traveling or work cloak&quot;. The three-quarter-length, unlined jacket has single-width open sleeves and flared lapels. It is worn by men and women of all ages.<br /> <br /> ==Typical Roles and draping ==<br /> Commoner roles predominate. <br /> Traveling women (i.e. ''[[Sumidagawa]]'') and working women (i.e. ''[[Matsukaze]]'', nuns (i.e. ''[[Ōhara Gokō]]'') and old women (i.e. [[Sotoba Komachi]]'') wear the ''mizugoromo'' loosely draped from the shoulders. <br /> <br /> Men wear it belted, tucking up the sleeves for work. <br /> The traveling monks (''tabisō'') who appear as ''waki'' in many dream noh (''[[mugen noh]]''), wear plain brown or blue ''mizugoromo'' over a kosode. If they are higher ranked monks, or mountain priests (''yamabushi'') such as Benkei in ''[[Funa Benkei]]'', the ''mizugoromo'' is worn over ''ōkuchi'' pleated trousers. <br /> <br /> Commoner old men appearing in the first part of a noh (i.e. ''[[Tadanori]]'') belt the jacket over a checked kosode, either an ''[[atsuita]]'' or a ''[[noshime]]'', while dignified old men in first-category Deity plays (i.e. the maeshite in ''[[Takasago]]'' hike up the sleeves to work, but drape the garment over ''ōkuchi''.<br /> Suffering ghosts in hell, such as Shinoshōshō in ''[[Kayoi Komachi]]'' wear their ''mizugoromo'' belted over ''ōkuchi''.<br /> <br /> ==Textile Features==<br /> ''Mizugoromo'' come in four types of fabric. Most common are single-colored plain weave silk (''shike''), with browns and blues dominating for male roles, while white, pale blue and lighter colors are common for women. <br /> <br /> Striped (''shima'') ''mizugoromo'' are standard for Yamabushi priests, though when there are many Yamabushi on stage at the same time, as in ''[[Ataka]]'', the supporting roles often do not wear stripes. <br /> <br /> The sheer, half-transparent effect of gauze-weave (''sha'') provides a textural alternative. <br /> <br /> Finally, the loosely woven ''yore'' with spaced wefts that are later displaced giving a frayed, ragged, transparency create a sense of poverty and suffering effective in plays featuring the hundred-year-old ''[[Sotaba Komachi]]'' as well as for suffering ghosts, such as the bird hunter in ''[[Utō]]''<br /> <br /> ==Construction==<br /> The ''mizugoromo'' is the only open sleeved ''[[ōsode]]'' noh costume tailored with only one width of fabric for the sleeves. The sleeves are stitched to the body of the garment from the shoulders down to chest level, and then allowed to hang free, facilitating movement. the front and back body panels are stitched together along the side seam so that when the garment is belted, it fits snugly over the hips. Long triangular inserts serve as front lapels. The broad collar circles around the neck and down to inches above the hem.<br /> <br /> ==History==<br /> The ''mizugoromo'' was created for stage use, probably some time in the sixteenth century.<br /> <br /> [[Category:Noh|Mizugoromo]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E8%AC%A1&diff=13530 2017-10-23T18:25:42Z

<p>WikiSysop: </p> <hr /> <div>[[Category:能狂言|うたい]]<br /> うたい　[[Utai]]<br /> ----<br /> =能狂言=<br /> &lt;p&gt;現代でも、結婚披露宴の場で《&lt;ruby&gt;&lt;rb&gt;高砂&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;たかさご&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;》などの&lt;ruby&gt;&lt;rb&gt;小謡&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;こうたい&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;を謡うことがある。これは、&lt;ruby&gt;&lt;rb&gt;能の大成期&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;のうのたいせいき&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;からの&lt;ruby&gt;&lt;rb&gt;謡い物&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;うたいもの&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;文化の一端である。&lt;/p&gt;<br /> &lt;p&gt;装束を着けて舞台で演じる能は、平安・鎌倉時代の記録にも見えているが、謡だけを謡う演じ方は、能を将軍・大名など武士階級の上層部が後援するようになった能の大成期（十四世紀から十五世紀にかけての南北朝・室町初期）に、能役者が将軍・大名などに求められて邸の座敷などで謡うようになったことに始まる。そのような場では、能一曲の謡ではなく、より短い「謡い物」と呼ばれる、謡のための曲が謡われた。&lt;/p&gt;<br /> <br /> &lt;p&gt;当初の謡い物は、能とは別に作られたものが多い。能の大成期には、季節ごとの祝言の謡など、場に合った縁起物としての謡や、和歌的な言葉を綴った叙情的で美しいメロディを持つ謡、もののいわれや有名な物語を語った叙事的でリズムの面白い&lt;ruby&gt;&lt;rb&gt;曲舞&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;くせまい&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;謡など、上層階級の要望に応えるような謡い物が数多く生まれた。そして評判のよい謡い物からは、それを組み入れた一曲の能が作られるようになる。&lt;/p&gt;<br /> <br /> &lt;p&gt;能が&lt;ruby&gt;&lt;rb&gt;歌舞劇&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;かぶげき&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;などと呼ばれるのも、大成期に作られたそのような謡い物が能の本文のまとまった材料になり、前時代より&lt;ruby&gt;&lt;rb&gt;韻文&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;いんぶん&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;的な詞章が増えたことが大きく関係している。&lt;/p&gt;<br /> <br /> &lt;p&gt;また、室町中後期頃からは、特に座の役者ではない一般の人々が、謡い物ばかりでなく能一曲の謡を習って口ずさみ親しむようになり、能一曲の謡本文を書き留めた&lt;ruby&gt;&lt;rb&gt;謡本&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;うたいぼん&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;が多く書写された。この謡本は謡い物を書き留めたものよりも数が多いが、それも、能の大成期に謡い物が生まれ、謡文化が形成されていたことが基盤になっている。&lt;/p&gt;<br /> <br /> &lt;p&gt;出版文化が花開いた江戸時代には、謡い物だけの謡本も数多く刊行された。「&lt;ruby&gt;&lt;rb&gt;曲舞&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;くせまい&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;」「&lt;ruby&gt;&lt;rb&gt;小謡&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;こうたい&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;」「&lt;ruby&gt;&lt;rb&gt;独吟&lt;/rb&gt;&lt;rp&gt;(&lt;/rp&gt;&lt;rt&gt;どくぎん&lt;/rt&gt;&lt;rp&gt;)&lt;/rp&gt;&lt;/ruby&gt;」などの言葉が書名に付いている本がそれである。&lt;/p&gt;</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E9%9E%8D%E9%A6%AC%E5%A4%A9%E7%8B%97&diff=13529 2017-10-23T18:25:41Z

<p>WikiSysop: </p> <hr /> <div>くらまてんぐ<br /> ----<br /> =能狂言=<br /> <br /> [[category:能狂言|くらまてんぐ]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=%E5%8D%92%E9%83%BD%E5%A9%86%E5%B0%8F%E7%94%BA&diff=13528 2017-10-23T18:25:41Z

<p>WikiSysop: </p> <hr /> <div>そとばこまち<br /> ----<br /> =能狂言=<br /> <br /> [[Category:能狂言|そとばこまち]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Maibataraki&diff=13525 2017-10-23T18:25:41Z

<p>WikiSysop: </p> <hr /> <div>[[舞働]] まいばたらき<br /> ----<br /> =能狂言=<br /> In noh, '''maibataraki''' (舞働) is a ''[[shōdan]]'' of the ''[[hayashigoto]]'' musical type.<br /> <br /> Short dance to fast instrumental music performed by strong characters such as gods, dragons, demons or spirits. It can take various forms, from a simple circling of the stage to more complex movements including mimetic gestures.<br /> <br /> [DP]<br /> <br /> [[category:noh]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Ageuta&diff=13524 2017-10-23T18:25:41Z

<p>WikiSysop: </p> <hr /> <div>[[上歌]] あげうた<br /> ----<br /> =能狂言=<br /> '''Ageuta''' is a ''[[shōdan]]''. Ageuta is a 5-7 syllable chant sung at a high pitch, following the ''[[hiranori]]'' rhythm. It is often used in lyrical passages or in the descriptions of scenery or narration of stories. Can be found in ''[[michiyuki]]'' 'travel songs' or ''[[machiutai]]'' 'waiting songs'. Also see ''[[sageuta]]''. [DP]<br /> <br /> [[category:noh]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Sh%C5%8Ddan&diff=13523 2017-10-23T18:25:41Z

<p>WikiSysop: </p> <hr /> <div>[[小段]] しょうだん<br /> ----<br /> =総合=<br /> <br /> =能狂言=<br /> '''Shōdan''' ([[小段]]) are sub-units of a ''[[dan]]''. Shōdan are defined according to the content of a unit (i.e. song/speech, dance to instrumental music, entrance or exit), to its formal features (i.e. linguistic and rhythmic characteristics), or to both. Shōdan are not always marked in the ''[[utaibon]]'' chant books, and their interpretation may vary from school to school. Scholar Yokomichi Mario identifies three main categories of shōdan: ''[[utaigoto]]''; ''[[hayashigoto]]'', and ''[[shijimagoto]]''. Utaigoto shodan, such as ''[[issei]]'', ''[[sashi]]'', ''[[age-uta]]'', ''[[kuse]]'', etc. are characterised by a specific type of chant. Hayashigoto shōdan, such as ''[[shidai]]'', ''[[chū-no-mai]]'', ''[[monogi]]'', etc. are characterised by a specific type of music. [[Shijimagoto]] shōdan, such as: ''[[su-no-de]]'', ''[[su-no-nakairi]]'', etc. are characterised by the fact that they are performed in silence. Some utaigoto can be performed with or without the accompaniment of music. They can be performed with or without movement. Hayashigoto are performed without chant but are normally performed with movement. [DP]<br /> <br /> [[category:noh]]</div>

WikiSysop https://www.arc.ritsumei.ac.jp/nohwiki/index.php?title=Dan&diff=13522 2017-10-23T18:25:41Z

<p>WikiSysop: </p> <hr /> <div>[[段]] だん<br /> ----<br /> =総合=<br /> <br /> =能狂言=<br /> A '''dan''' ([[段]]) is subsection of a ''[[ba]]''. As with ba, ''[[utaibon]]'' (noh chant books) do not mark the dan subdivision, which leaves their interpretation up to the critic. In the case of the common two-ba structure, it is common to divide each ba into five dan. Dan are identified according to the function or action of the shite and/or of the waki. Dan can also refer to famous sections of plays which are performed independently in recitals in solo dances called shimai, for example ''[[kane-no-dan]]'' from ''[[Miidera]]'' or ''[[tama-no-dan]]'' from ''[[Ama]]''. [DP]<br /> <br /> [[category:noh|Dan]]</div>

WikiSysop