Kumadori - Kumadori

A type of makeup used in Kabuki. The face is painted with crimson, indigo, brown ink, and ink to exaggerate facial expressions. It is also called "kuma" and the act of painting it on the face is called "applying kuma." Its origins are unknown, but it is said to have existed around the Genroku period (1688-1704) and was first created by Ichikawa Danjūrō ​​I. It developed in conjunction with the performance of aragoto, a style of rough acting that exaggerates strength. Danjūrō ​​II invented a technique of applying crimson to a foundation of face powder and then shading the makeup, and other basic forms were created by his contemporaries Nakamura Denkurō I and Yamanaka Heikurō I.

Many theories about its origins point to the influence of wooden masks such as Noh masks and angry expressions on Buddhist statues, while another theory is that it was inspired by the "Renpu" of classical Chinese drama. However, "Kuma" means a recessed, hidden area or a shadowed area, and "Kumadori" also means adding shadow to the face, drawing lines along the facial bone structure and blurring it to emphasize the muscles and shadows. In this way, expressing the character's personality and emotions while making use of the actor's facial expressions is a distinctive feature not seen in Renpu, such as masks.

There are over 100 types, but they can be broadly divided into crimson shading, which represents positive qualities such as justice, power, and passion, and indigo shading and red shading, which represent negative qualities such as evil, vengeful spirits, and beasts. The former includes the mukimi shading (Goro in "Sukeroku" and "Taimei"), the ippon shading (Watonai in "Kokusenya: Tower Gate" and Umeo in "Sugawara: Ka no Iwai"), the suji shading (the protagonist in "Shibaraku" and Watonai in "Kokusenya: Beninagashi" and Umeo in "Kurumabiki"), the monkey shading (Asahina in "Taimei" and "Kusazuribiki"), and the kaen shading (Tadanobu in "Senbonzakura: Torii-mae"), while the latter includes the kugeare shading (Uke in "Shibaraku"). There are mixtures of both, such as Shihei in "Kurumabiki", Hannya kuma (the snake body in "Dojoji"), Onion kuma (the demon woman in "Momijigari" and "Modoribashi"), Tsuchigumo kuma (the later Jite in "Tsuchigumo"), and half kuma (various Kagekiyo), catfish kuma (the catfish monk in "Shibaraku"), crab kuma (the miscellaneous ceremony in "Kurumabiki"), and morning glory kuma (Senbei Asagao in "Sukeroku"). Depending on the role, kuma is also applied to the hands and feet, but today it is often replaced with a flesh-colored undergarment with a pattern of kuma.

[Toshiaki Matsui]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

歌舞伎(かぶき)の化粧法の一つ。顔面を紅(べに)、藍(あい)、代赭(たいしゃ)（茶墨）、墨などの線で彩り、表情を誇張するもの。単に「隈」ともいい、これを顔にかくことを「隈をとる」とよぶ。発生の年代は未詳であるが、元禄(げんろく)（1688～1704）ごろには存在し、初世市川団十郎が創始したという。力を誇張して表現する「荒事(あらごと)」の演出に伴って発達し、2世団十郎が白粉(おしろい)地に紅で隈をとり、ぼかしをつける技法をくふう、同年代の初世中村伝九郎や山中平九郎らによりその他の基本形がつくられた。

　発生には、能面など木彫りの仮面や仏像の怒りの相貌(そうぼう)の影響をあげる説が多く、中国古典劇の「臉譜(れんぷ)」にヒントを得たという説もある。しかし「隈」とは、奥まって隠れたところ、かげのあるところを意味するものであり、「隈取」とは顔面にかげをつけることでもあって顔面の骨格に沿って線を描き、ぼかしをつけて筋肉とかげを印象づけるものである。このように俳優の表情を生かしながら役の性格や感情を表現する点、仮面のような臉譜にはみられない特色である。

　種類は100に及ぶが、大別して陽性の正義、力、熱情などを表す紅隈系と、陰性の邪悪、怨霊(おんりょう)、鬼畜などを表す藍隈、代赭隈系に分けられる。前者にむきみ（『助六(すけろく)』『対面』の五郎）、一本隈（『国性爺(こくせんや)・楼門』の和藤内(わとうない)、『菅原・賀の祝』の梅王）、筋(すじ)隈（『暫(しばらく)』の主人公、『国性爺・紅流し』の和藤内、『車引(くるまびき)』の梅王）、猿隈（『対面』『草摺引(くさずりびき)』の朝比奈(あさひな)）、火焔(かえん)隈（『千本桜・鳥居前』の忠信）など、後者に公家荒(くげあれ)隈（『暫(しばらく)』のウケ、『車引(くるまびき)』の時平(しへい)）、般若(はんにゃ)隈（『道成寺』の蛇体）、鬼女隈（『紅葉狩(もみじがり)』『戻橋(もどりばし)』の鬼女）、土蜘蛛(つちぐも)隈（『土蜘(つちぐも)』の後ジテ）など、両者の混合したものに半(はん)隈（各種の景清(かげきよ)）、鯰(なまず)隈（『暫』の鯰坊主）、蟹(かに)隈（『車引』の雑式(ぞうしき)）、朝顔(あさがお)隈（『助六』の朝顔仙平(せんべい)）などがある。なお、役によっては手足にも隈をとるが、今日では隈の模様を描いた肉襦袢(にくじゅばん)で代用することが多い。

［松井俊諭］

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