Noh costume - Noh costume

A general term for costumes used in Noh. In the narrow sense, it refers to cloth products for performance, but in the broad sense, it refers to everything worn by performers, except for Noh masks, and also includes eboshi (black hats), kamuri (crowns), and kagi (temporary hair). It is not called a costume, but is always called shozoku (costume).

Costumes in the time of Zeami are thought to have been little more than the reuse of everyday clothing and realistic costumes. In "Fushikaden," when dressing up as a woman, it is written, "Wear something with very long sleeves, so that even your fingers cannot be seen. The obi (sash) should also be loose." It is said that lavish Noh costumes, such as Karaori, began to be produced from the end of the Muromachi period to the Momoyama period, and the style of Noh costumes seen on stage today was largely completed in the mid-Edo period, when the direction of the plays was fixed. The oldest surviving Noh costumes are those bestowed by Ashikaga Yoshimasa, who was handed down in the Kanze school, and many costumes from the Edo period, including those of the Tokugawa, Ii, Hosokawa, and other feudal lords, are also preserved.

Noh costumes are the first-class traditional Japanese crafts, and are highly valued for their artistic merit. The techniques used for Noh costumes are mainly weaving, with embroidery and foil printing. Dyeing is rarely used, and later techniques such as Yuzen dyeing were not introduced at all. The representative Karaori is a luxurious style that uses gold and silver foil threads, and the patterns are all woven into the fabric. This is due to the development of Nishijin weaving techniques and the wealth of feudal lords who loved Noh. The kariginu (hunting costumes), happi (happi coats), sobatsugi (side coats), and hangiri (hangire) (also called hangire), worn by male roles, strong gods, and demons, often use gold brocade and nishiki, and in the past, imported cloth from China was used. Costumes that have been directly adapted from Yusoku costumes include the sashinuki and noshi worn by nobles, the suou plain robe worn by men, and the long scarlet hakama worn by court ladies. The stiff hakama called oguchi, the obi tied around the waist and hanging down in front, and the long silk trousers worn by both men and women are all adaptations of Yusoku costumes. For the long silk, the maiginu (dance robe) with its unique design for Noh, the hitoe kariginu (single-layered kariginu) and single-layered happi coats, rojikinran (gold brocade) and kenmonsha (patterned gauze) are used. The mizugoromo (water robe), a plain outer garment in the style of a duster coat, is also unique to Noh. There are distinctions between "shike" and "yore" depending on the weaving method, and there are also striped ones. Suribaku, which is a technique of printing patterns using gold and silver foil, and nuihaku, which is a technique of creating patterns using embroidery and foil, are also mainly used for female roles. The continuous triangular scale pattern of suribaku is customarily used to represent the nature of the demon woman. Furthermore, unlike Noh costumes, which are made of silk, Kyogen costumes are mainly made of hemp.

Generally, compared to the 100 or so types of Noh masks used on stage, there are not so many types of costumes. Apart from differences in whether they are single-layered or lined, variations in weaving, and whether they are plain or patterned, there are about 90 basic types of costumes, including six types of dressing, six types of tops (shosode-like), nine types of outer garments (hou-like), and four types of hakama. However, there are many ways to break away from the types, such as by combining costumes, how they are worn (for example, in the case of karaori, there are six variations, including a one-piece style, a two-piece style, and a style with the right sleeve removed), the difference between single-layered and lined, variations in hats, eboshi hats, kumuri hats, and kazura obi (wig sashes) to tie wigs, and the choice of obi (sashes) to hang in front of the waist. This is also due to the Noh philosophy of extremely reducing the basics to express infinity.

Noh costumes do not use fine, flowing crepe fabrics, so their designs are instead permeated with linear clarity and the solidity of taut materials, harmonizing with the wooden carved Noh masks and the geometrically abstract performances. Also, because they have become so stylized, it can be said that the masks and costumes rather regulate the performance. For example, the roles of young, beautiful women are dressed in red costumes called "iroiri" (red costumes), while mothers and middle-aged people are dressed in "iro-nashi" (red costumes), meaning no red is used, and this is a major standard for performance. In "Kinuta," the shite, who cannot bear three years of solitude in bed and dies resenting her husband, whether to make her a newly married wife with "iroiri" (red costumes) or an age of sexual maturity with "iro-nashi" (red costumes) makes a big difference in the interpretation of the piece. The performance can also be influenced by the choice of color of the collar that peeks out from the chest. There are set combinations depending on the piece and school, and even patterns may be specified. In the past, there were specialized costumers, but nowadays, the costumes are dressed by the guardians. The way the same costume is worn changes and is refined over time, as is seen in the large difference in the basic costumes for female roles between the five schools of Noh and Kurokawa Noh in Yamagata Prefecture. In paintings from Zeami's time, demon roles are shown wearing sandals called "kegariha," but today no footwear is used at all, and all are white tabi socks, emphasizing the beauty of the footwork.

[Masuda Shozo]

"Yamabe Tomoyuki's 'Noh Costume Design Collection' (1969, Hino Shoten)" ▽ "Masuda Shozo's 'Noh Design' (1976, Heibonsha)" ▽ "Kirihata Takeshi and Masuda Shozo (eds.) '100 Forms of Noh Costumes Held by the Ii Family' (1984, Heibonsha)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

能に用いる扮装(ふんそう)の総称。狭義には演能用の布製品であるが、広義には演者が身につけるもので、能面を除くすべてをさし、烏帽子(えぼし)、冠、仮髪の類も含まれる。衣装とはいわず、かならず装束と呼称する。

　世阿弥(ぜあみ)時代の装束は、日常の衣装の流用、リアルな扮装程度だったと推定される。『風姿花伝(ふうしかでん)』には、女に扮する場合の注意として「いかにもいかにも袖(そで)の長き物を着て、手先をも見すべからず。帯などをも弱々とすべし」とある。唐織(からおり)などの豪華な能装束が製作されるようになったのは、室町末期から桃山時代にかけてとされ、今日舞台でみる能装束の様式は、演出の固定化された江戸中期にほぼ完成された。現存最古の能装束は、観世宗家に伝わる足利義政(あしかがよしまさ)拝領のもので、江戸時代の徳川家、井伊家、細川家ほかの大名家の装束も多く保存されている。

　能装束は第一級の日本の伝統工芸作品であり、その美術的価値も高い。能装束に用いられる技術は織物が主体で、それに刺繍(ししゅう)、箔(はく)押しが用いられ、染めはほとんど用いられず、後世の友禅(ゆうぜん)染めなどは、まったく能装束に導入されなかった。代表的な唐織は、金銀箔の糸を加えた豪華なもので、すべて織りで模様を浮き出してある。西陣織の技術の発達と、能を愛した大名たちの財力によるものである。男の役や強い神、鬼などの着る狩衣(かりぎぬ)、法被(はっぴ)、側次(そばつぎ)、半切(はんぎり)（半切(はんぎれ)とも）などは金襴(きんらん)や錦(にしき)が多用され、かつては中国からの輸入裂(ぎれ)が用いられた。有職(ゆうそく)の装束をそのまま流用したものに、貴人の指貫(さしぬき)や直衣(のうし)、男の平服としての素袍(すおう)、官女の着る緋長袴(ひのながばかま)がある。ごわごわした袴である大口(おおぐち)、腰に結んで前に垂らす腰帯(こしおび)、男の役にも女にも用いる長絹(ちょうけん)は有職の転化したものである。長絹や、能独特のデザインとされる舞衣(まいぎぬ)、あるいは単(ひとえ)狩衣、単法被には、絽地金襴(ろじきんらん)や顕文紗(けんもんしゃ)が用いられる。ダスターコート風の無地の外衣である水衣(みずごろも)も、能独特のものである。織り方で「しけ」「よれ」の区別があり、また縞(しま)物もある。金銀の箔で模様を摺(す)り出した摺箔(すりはく)、刺繍と箔で文様をつくる縫箔(ぬいはく)も、主として女性の役に用いる。摺箔の三角の鱗(うろこ)の連続模様は、鬼女の性を表す決まりになっている。なお、能の装束の絹に対し、狂言は麻を主調としている。

　普通、舞台で用いられる能面の100種程度に比べ、装束の種類はさほど多くない。単(ひとえ)・袷(あわせ)の別、織り方の変化や、無地か模様かといったことを別にすると、着付けのたぐい六、上衣（小袖の類）六、外衣（袍(ほう)の類）九、袴のたぐい四といった程度で、基本の扮装の類型は90種程度である。しかし、装束の取り合わせや、つけ方（唐織を例にとれば、ワンピース的用法のほか、ツーピース的なつけ方、右袖脱いだ着方など六通りの変化がある）、単と袷の違い、帽子、烏帽子、冠、仮髪などの変化、鬘(かつら)を締める鬘帯(かづらおび)、また腰の前に垂らす腰帯の選択などで、類型を破るくふうを凝らす。これも、基本を極端に少なくして、無限を表現しようとする能の理念によるものである。

　能装束には細かに揺れ動く縮緬(ちりめん)の類を用いないから、そのデザインはむしろ直線的な明快さ、張りの強い材質の重厚さに貫かれ、木彫りの能面と、幾何学的に抽象化された演技とに調和する。また様式化が極度に進んだため、むしろ面や装束が演出を規制するともいえる。たとえば、若く美しい女性の役は「紅(いろ)入り」といって赤い色の装束を用い、母親の世代や中年以降は「紅(いろ)無し」、つまり赤を用いず、これを演出の大きな基準とする。3年の孤閨(こけい)に耐えかね、夫を恨みつつ死んでいく「砧(きぬた)」のシテを、新婚まもない妻とし「紅入り」とするか、性的に円熟した「紅無し」の年齢に設定するかは、大きな曲目の解釈の相違である。また胸元にわずかにのぞく襟の色の選択一つによっても、演出が左右されるほどである。曲目や流儀により決まりの組合せがあり、模様まで指定される場合がある。昔は専門の物着方(ものきせかた)がいたが、現在では後見が着せる。同じ装束でも時代によってつけ方に変化と洗練がみられるのは、女性の役の基本の扮装に、五流の能と山形県の黒川能に大きな差があることをもっても知られる。世阿弥時代の絵には、鬼の役が「けがりは」とよばれる沓(くつ)を履いているが、今日では履き物はいっさい用いず、すべて白足袋(しろたび)で、足の運びの美しさを強調する。

［増田正造］

『山辺知行著『能装束文様集』（1969・檜書店）』▽『増田正造著『能のデザイン』（1976・平凡社）』▽『切畑健・増田正造編『井伊家伝来　能装束百姿』（1984・平凡社）』

出典　小学館　日本大百科全書(ニッポニカ)日本大百科全書(ニッポニカ)について　情報 | 凡例