Kidori: Choosing the wood

Choosing the wood is the first step of the

process. Sometimes the character of the wood will determine what kind of mask it

will become.

Typically, cypress wood (hinoki) is used after it’s been dried for 80-90 years by timber suppliers.

Then, an outline of the silhouette of the mask is drawn on the wood.

These are the saws used for cutting wood.

The chisels are made with the same Japanese technique used to make swords.

The blades are fired and pounded repeatedly for sharpness and strength.

Noh carvers may request special dimensions , angle and density of

the blades.

Tools used for Arabori : the rough carving stage.

These tools are sharpened before beginning. The chisels are struck with

a mallet. This stage also requires spiritual preparation and mental focus

before beginning.

Then, the wood is measured.

The “utsu” processNoh carvers don’t

use the verb “horu” which

means to carve, instead they use the verb “utsu” which means to

strike. This implies that they enter into

the wood as they strike it.

The front and back sides are carved at the same time.

For the backside, a gouge and curved chisel are used.

This stage is called modelling or “nakabori” in which we rough out the features of the face.

Following, the delicate carvings to bring out the facial expressions are done.

This step is called “shiagebori” which means

carving the finishing touches.

The details of the eyes , mouth and nose are carved with fine chisels. Then the entire mask is smoothed with chisels.

Wood chips made with a…

Rough Chisel

Medium Chisel

Fine Chisel

Next, is to put lacquer on the back of the mask and to sign it.

Lacquer dries very slowly , and the mask

cannot be worn until this lacquer is completely dry.

It is only in carving the back of the mask that the carver can deviate from the tradition and express himself freely. The front requires total

concentration.

Then, metal eyes are inserted.This is usually done for demon masks. Metals include copper brass, bronze, and gold leaf.

The metal is pounded into the proper shape for the eyes, or

sometime fangs. They are usually attached with glue or

small metal tacks.

This whitewash is made of ground and baked seashell which is mixed with a glue made from the marrow of animals, typically deer.

Afterwards, the first coat of pigment, “shitanuri”, is added.

Various brushes are used to coat the entire front surface.

The mask is given 4-5 inner coats, then

polished thoroughly. After each coat dries, it is polished with a

smooth chisel, a scouring brush, and the ground leaves of

the mukunoha.

For the final coat, mineral and vegetable pigments are used.

Pigments are made from various minerals. For example, malachite is used to make green. Ink is

made from lampblack, which is purchased in stick form then mixed with water in the ink stone,

before being brushed onto the mask.

Here is a mask with some color added.

Fine brushes are used to make the lines for the beard.

This process takes immense concentration

Each line has to be painted with a single stroke. If the brush stops or lifts, the

thickness of the stroke will change. They are

done one at a time and several hundred are

required to suggest the hair of a beard. A

mistake here would mean having to go back

to the base coat.

Masks are made to looked aged.

The masks have always been made to look

aged, it is the style of Noh. They are made to

look like they were created 400-600 years

ago.

Aging Techniques

Aging techniques include abrading the surface with a whisk made from the bark of a palm

tree, and staining it with various materials.

Finished Noh Mask