Noh and Kyogen Masks: Tradition and Modernity in the Art of Kitazawa Hideta

By Jannette Cheong and Richard Emmert
Prestel (2024)
ISBN-13: 978-3791377537
Review by Margaret Coldiron
Noh and Kyogen Masks: Tradition and Modernity in the Art of Kitazawa Hideta provides a rare treat—not only spectacular photographs of beautifully crafted works of Japanese art, but also revelatory elucidation of this revered ancient theatre form presented in a straightforward and accessible style.
The first thing that must be said about this book is that it is a beautiful object, truly exquisite in design and layout that makes excellent use of colour, space and typography. Simple calligraphic kanji ideograms of the mask names work as both decoration and informative labels. The photographs are large, clear, and detailed; pages are not crowded with information, but rather allow plenty of clear space for contemplation of each mask. Thus, the book is rather Noh-like in design and execution, demonstrating its own special quality of yugen, provided by co-author Jannette Cheong’s skills as designer, poet and Noh connoisseur.
Another element that makes the book special is the detailed information provided about each mask, including elements of carving and painting as well as insights into how the mask is used in performance. In this it benefits from co-author Rick Emmert’s decades-long immersion in Noh performance as both a scholar and a practitioner. So, this isn’t just a gorgeous coffee-table book with nice pictures, but rather it is a comprehensive study of both classical and contemporary Noh and Kyogen masks. Even more importantly, these are all masks crafted by a living artist who creates these works in active collaboration with the performers who wear them.
The preface by British actor Simon Callow and the forward by Hamish Todd (Head of East Asian collections at the British Library) set the stage for the work that follows. Historical paintings of Noh masks and performance from the British Library collections provide some historical context for this ancient-yet-contemporary theatre form, and an introduction by the authors explains how and why the book was developed.
The arrangement of materials is very clear; the book begins by introducing Kitazawa Hideta and his artistic milieu. His father, a master traditional woodcarver, creates works for temples, shrines and traditional festival floats; his brother is a professional photographer who provided most of the photographs used in the book; Kitazawa’s wife is a textile artist. Kitazawa himself apprenticed for many years with master carver Ito Michihiko and has won prizes for his work. In 2004 he was introduced to the work of Richard Emmert’s Theatre Nohgaku and began creating new Noh and Noh-informed masks for their productions. He has given workshops, exhibitions and had commissions from museums and universities in Europe, North America and Australia. In 2023 he was awarded the title of Traditional Master Craftsman (Dento Kogeishi) by the governor of Tokyo.
After this contextualising introductory material, we come to the heart of the book—Kitazawa’s masks. It begins with a chapter of classical, traditional Noh masks with examples from all mask types (Okina, female, male, gods and demons). Each example includes a detailed explanation of the mask, how it is used, and any special features of carving or painting. Traditional Noh masks are based on the honmen, designated model masks of the ancient masters, and must adhere strictly to those designs. However, Kitazawa’s skill in the execution of these designs is evident in these vivid photographs, and the accompanying descriptions reveal the subtleties of the carver’s art. For example, it is often difficult to distinguish between the various types of young woman masks because they are so very similar (exemplified here in the Ko-omote, Manbi and Magojiro masks), however the high-resolution photographs and descriptions note individual elements in each type and explain how these small variations make each mask suitable for the performance of different characters. The photographs are so clear that minute elements of carving and painting are visible: individual painted strands of hair, for example, as well as whiskers, wrinkles and beard stubble. Throughout the masks are shown not just as objects, but also in action, in performances of Noh plays, with a synopsis and commentary on each play and mask. This vital contextualisation demonstrates how the masks, costumes, wigs and headdresses work together to create a complete, vibrant living being on the stage. The book features not only some of the best-known mask types, but also some that are rarely seen such as Shaka (the benign face of the Buddha, painted in gold) and Oakujo, the angry old man.
The next section looks at ‘Classical-based Noh Masks’ created for the two English Noh plays written by Jannette Cheong: Pagoda (2009) and Between the Stones (2020). While based on the classical models, these masks have very slight variations that make them particular to the plays for which they were created, for example a “warmer” quality for the Zo-onna style mask used for Meilin, the spirit of the mother in Pagoda and the slightly altered details of hair to create a more Chinese appearance in the Waka-onna mask used for the daughter spirit in the same play.
Kyogen masks, which make up the next section, adhere less strictly to ancient models than Noh. This allows for greater creativity for the mask maker, as exemplified in Kitazawa’s Oji (grandfather) mask, based on a contemporary photograph. The authors point out that ‘there is a considerable challenge in making masks that portray humorous faces and can also convey a high level of dignity, elegance and prestige’ (p. 128), and that the masks represent not only humans but also deities, demons and animals. Kitazawa brings a special expertise to his Kyogen mask making because he is an active amateur Kyogen performer (who studied under Nomura Manzo IX) and photographs of his performances illustrate how the masks in use come alive.
The creative artistry of Kitazawa can be most clearly seen in the contemporary Noh masks he has designed specifically for English-language Noh and Noh-influenced plays. These masks are extraordinary, possessing all the careful complexity and beauty of traditional Noh masks, but each is totally unique and inventive. Working without the benefit of honmen, Kitazawa consults with the creative team (playwright, performer and director) with reference to whatever images they suggest (photographs, paintings or statuary) and then creates drawings of the proposed mask. If these are approved, he will go on to make a clay model which can be altered until the design meets the requirements of the character and the production. The carving process is the same as for traditional masks, using established methods and materials to create a mask that is lightweight and fitted to the face of the performer who will wear it. The painting techniques are also the same as for traditional masks, providing subtlety, detail, expressiveness and a striking realism. The characters they represent range from mythical demons of American folklore (the “Jersey Devil”) to historical figures, including Frida Kahlo and Elvis Presley. (Yes, that’s right, Elvis. The Elvis Presley mask appears in the English-language Noh, Blue Moon Over Memphis.)
The following section, on ‘Miscellaneous Masks’, features masks commissioned for Noh-influenced productions for the San Francisco-based Theatre of Yugen and for residencies at various American universities. These extraordinary masks were made for actors and dancers performing in styles influenced by, but quite different from, conventional Noh and Kyogen. They include half-masks made for performances of Benjamin Britten’s Curlew River (a chamber opera based on the Noh play Sumidagawa) and masks based on figures from Iroquois and Hawai’ian mythology.
At the end of the book are informative sections about the materials and methods of Noh maskmaking and Kitazawa’s work on restoration and repair of old Noh masks, with useful illustrations and descriptions of the work. A brief chapter on ‘Understanding Nohgaku’ provides a short history of Noh and an examination of the current state of the art. Noh was virtually unknown outside of Japan before the turn of the twentieth century, but its international appeal has grown. Now, new Noh are being developed, not only in English but also French, Spanish and Polish, and it is no longer an exclusively male art, since an increasing number of female performers are taking the stage in all the Noh schools. There is also a collection of reflections from museum curators commenting on Kitazawa’s work and its place in their collections alongside much older objects. Finally, there is a splendidly thorough glossary/index along with an illustrated index of all the masks.
Books on Noh masks in English are rare. Secrets of Noh Masks by the late Udaka Michishige, an actor, teacher and mask maker from the Kongo school is very beautiful, and Steven E. Marvin’s magisterial two-volume Heaven Has a Face and so does Hell: The Art of the Noh Mask is comprehensive and scholarly, but very expensive. This book, on Tradition and Modernity in the Art of Kitazawa Hideta, is an important addition to this rather exclusive club. Moreover, it marks a significant advance in that it firmly asserts Noh and Noh maskmaking as living and developing arts, both within Japan and internationally. Uniquely, it foregrounds the perspective of practitioners—both performers and carvers—which means that the masks it presents may be seen not just as objects to be admired, but as dynamic and active entities creating life on the stage.
The book will certainly be of interest to scholars and collectors, but its emphasis on the practical business of making and using the mask makes it useful for students of theatre, performance and mask making. Since it is beautifully produced, accessible, and affordable it will undoubtedly appeal, not just to specialists, but also to a much wider public audience.