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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.
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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.
The “utsu” process Noh 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.
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. 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. Lacquer dries very slowly , and the mask cannot be worn until this lacquer is completely dry.
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.
Afterwards, the first coat of pigment, “shitanuri”, is added. This whitewash is made of ground and baked seashell which is mixed with a glue made from the marrow of animals, typically deer.
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.
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.
