1. Costumes of Noh Barbara Hernandez
While watching a performance of the Japanese art of Noh, one cannot help but be struck by the opulent beauty of the fabrics and the well-defined structure of the costumes themselves, particularly for the shite, or main character. They both transform and dominate the space they occupy. As Vollmann puts it, “the costumes […] balance the austerity of the stage” ( ) and are “shockingly beautiful.” (103) Ashton explains further that “the Noh costume often functions to animate the entire stage space.” (60) These costumes which developed over hundreds of years into such magnificent works of art are based on the garments of the late Heian period ( AD), which is around the time that Noh as we know it today began to develop. However, the process of taking the Chinese Gigaku and turning it into something uniquely Japanese would take time. The intermediary stage included several types of performance dengaku-no, sarugaku-no and ennen-no, all of which were forms of popular entertainment.
In the 14th century Noh was adopted by the court and transformed from “a rural, informal entertainment” to a form which exemplified “quietude, refinement, and understatement.”(Kuritz 99) It was in the courts or Kyoto during the feudal period that the costumes ceased to represent the probable garb of character, as the art form began to strive for something more sublime. The influence of Zen Buddhism had much to do with the change to the performance style of Noh at this time. One of the earliest writers on Noh was in fact a noh actor and minor Buddhist preist named Zeami Motokiya, who wrote booklets outlining his ideas about the art. In 1402 he also wrote kadensho or “The Book of Handing on the Flower,” which he had hoped to pass on to his son though he was destined to never have such an heir.
During the Edo period ( ) the art flourished under the rule of the Tokugawa family, who prized “artistic luxury” (Kuritz 99) as one of the staples of a courtly life. In this period the Noh reached full maturity, but at this time only aristocrats were allowed to watch the plays. The gap between Noh and the common people in this era allowed for further aberrance from realism in the style of both performance and of dress. Unlike in the economically troubled Muromachi period ( ), rich textiles were relatively common and became incorporated into the Noh costumes with greater frequency. Over time, the fabrics also became more rigid, giving the costumes a more structured look and feel. The nobility took Noh so seriously that a mistake during a performance could result in exile or even death. The impact of these harsh demands can be seen in the perfectionism of today’s Noh actors and the attention they pay to details. Although there is no punishment in the modern age if the actor’s costume shifts during performance, the garments are still sewn into place so that the actor will always present a perfect image to his audience. The multiple layers and pads also create a certain uniformity of shape among the actors. In this way, the perfect image is not spoiled by any difference in the physical form of actor from what one imagines for the character. Through this one can see that the devotion to an ideal which is so apparent in Noh costuming is a remnant of the Edo period.
Another effect of the Edo period on Noh costumes was the creation of schools of Noh. With such isolation, each troupe of actors developed their own techniques and, to some degree, their own interpretation of the costumes. Some elements, however, cannot be altered.
Barbara Hernandez

2. Surihaku
To the left are two classic surihaku embroidered with flowers and leaves.
To the right are two surihaku with repeating silver triangles in the uruko pattern, representing scales.
For example, the general color of a costume cannot be changed. This is especially true for female characters, for which the color of the costume is an important distinguishing characteristic. All female characters fall into one of two categories: women who wear red, and women who do not wear red. The term for costumes which include red is iro-iri, which literally translates to “there is color.” The opposite term is iro-nashi, meaning “without color.” Iro-iri costumes are reserved for young, beautiful women, while older women will always wear iro-nashi costumes. Some patterns also carry special significance and therefore cannot be used interchangeably with others. A pattern of gold foil triangles called uruko can only be used for women and is meant to look somewhat like scales. It represents deep attachments and passions and therefore is often used for women who transform into demons. Black silk with embroidered circles may also be used for female demons.
The terminology used to describe the Noh costumes can become confusing very quickly for non-Japanese. By grouping the various garments into several categories, however, the matter becomes much clearer. Aside from the specialized underwear that the performers wear, their garments are generally classified into two categories: inner garments or kituke, and the outer garments or uwagi. Between different schools, however, these vary greatly. The costume pieces used in Noh can also be divided into osode garments with very large sleeves and kosode garments which have narrower sleeves that more closely resemble the traditional kimono. Surihaku, nuihaku are both undergarments for women, though gentler, nobler male characters may also wear nuihaku. The main difference between the two is that nuihaku is made from a softer, suppler satin which allows for movement and the surihaku is also made from white silk, embroidered using only metallic threads such as gold and silver.

3. Nuihaku
On the top right the close up of the sleeve gives a sense of how supple the fabric is. In the center picture below, the contrast between embroidery and foil embossing is clear. In the bottom left corner is an example of a nuihaku with family crests which would be especially appropriate for male characters.
(see notes for slide 2 Surihaku)

4. Karaori
To right are karaori atsuita with geometric pattern intended for men
To the left are typical feminine karaori. The top image exemplifies iro-iri while the image immediately below is an example of iro-nashi.
The karaori is a typical kimono-cut garment made from a very stiff silk typically used as the outer garment for female characters. However, like the nuihaku, the karaori can be used as the inner garment for noblemen. If a male character is wearing a karaori it may also be called atsuita karaori. This is because the usual inner garment for a male character in Noh is the atsuita, which generally have geometric patterns or feature family crests. They differ from atsuita karaori, however, in that they are not actually embroidered but rather pattern is created during the weaving of the fabric. When used for women, the nuihaku, the surihaku, and the karaori will have patterns inspired by nature and the seasons. In fact, the uruko pattern used for demon characters is the only geometric pattern worn by female characters. These garments are colorful, normally using metallic thread for part of the embroidery. In female characters, the karaori will usually be the garment which is either iro-iri or iro-nashi.

5. Choken
In these images one can see that the sleeves are longer than in the previous garments. In the top left, one can see how the long sleeves can be soft and feminine. In the center left, one can see how, by tucking in the sleeves, the choken becomes hyper-masculine. Also, in the close-up picture to the right it is clear that the designs have not been embroidered onto the fabric.
Another outer garment is the choken. This is an osode garment which falls to approximately the knees of the actor or sometimes slightly above. At times the sleeves of the choken will be more billowy for female characters than for males, but this is not always the case. The fabric is thin as compared to karaori and the front and back panel fall free, lending to its movement. This makes it a good choice for characters with vigorous dances. It is for this reason that actors will sometimes choose it over the happi, an exclusively masculine osode outer garment which is more restrictive both because of its fabric and its construction. Especially in warriors, the sleeves of the choken may be hiked up so that the garment appears sturdier and more closely resembles armor. These garments are the most common, especially for shite, but there are many more types of uwagi. The mizugoromo, for example, is a travelling cloak worn by both men and women which stands out from the rest of the Noh garments for its exceptionally plain appearance.

6. Mizugoromo
The image to the left shows a typical mizugoromo which might be worn by a character such as monk. The blue mizugoromo in the center dates from the 1800s, as does the tan mizugoromo to the left which has an unusual texture. All of these show how much thinner and lighter these garments are than others in Noh.
(see Notes for slide 5 Choken)

7. Happi
Happi are similar in shape to choken but made of heavier fabric. Also, they are always lined. One can also note the straps on the sides of the bottom hem which connect the front and back panel, restricting movement more than the choken.
(see Notes for slide 5 Choken)

8. Okuchi The images to the left show the typical white or cream okuchi.
The image in the top right shows a par of colored okuchi that might be worn by a female character.
The bottom right image shows colored okuchi worn by a male character to represent a gentle aspect to his otherwise war-like personality.
The final notable group of garments of Noh is that of the pants. The okuchi is a pair of trousers which are made of a very stiff fabric and pleated inward in the front and are sometimes referred to as a “divided skirt.” Male characters always wear okuchi and female characters sometimes do. When females wear okuchi, it will typically be colorful. Often male characters such as young gods or noblemen wear white okuchi, but other male characters tend to wear colored okuchi which represent some aspect of their character.

9. Hangiri and Sashinuki
Hangiri share the same design as okuchi but are defined by their bold patterns and use of gold embossing as is clear in the images of the left.
Sashinuki, on the right, lack the broad back panel of okuchi and hangiri. Also, they have narrow ankles which create a baloon effect. Sashinuki can also be made using any color or pattern as suits the character.
Hangire are very similar in design to okuchi except that they are embroidered and made of a softer fabric, more similar to nuihaku. The hangire is most commonly worn by characters which are not quite human, such as deities, goblins, demons, and ghosts. The sashinuki are the pants whose ankles are gathered, however these are not typically worn by the shite as they are generally used by courtiers.

10. Eri
Both actors wear red eri, or collars, however in the female character to the left it likely represents passion. In the warrior character getting dressed in the picture below it would probably represent a more general vitality.
A very small part of the costume which, to a westerner may seem insignificant is the collars or eri which are visible under the other garments. White, for example, symbolizes purity and the combinations of colors of the eri as well as the way they are ordered indicate to the audience the social status as well as the internal state of the character. They are carefully chosen to represent the attributes of each character and therefore a perfect example of the subtle significance of details in Noh costuming. As with the elegant, stylized movements of Noh or the rigorously practiced and thereby perfected chanting of the actors, the costumes of this art form leave no detail unattended to. This is because “Noh theatre framed the universe in the microcosm” (Kuritz ). Each small thing carries inside it the key to greater things in life just as in Zen Buddhism each action is said to determine the fate of the world. Nothing is overlooked because even the smallest aberrance could ruin the fleeting representation of absolute perfection and beauty that is Noh.

11. Bibliography
Ashton, Dore. Noguchi, East and West. Berkeley: University of California Press, "Costumes and Masks in Noh." Japanese Performing Arts Resource Center. GloPAC. Web. 25 Apr “Costumes.” The noh . com. Web. 25 Apr Sculpture in Silk. New York: Art Capital Group, Denney, Joyce. "Noh Costume". In Heilbrunn Timeline of Art History. Web. 25 Apr New York: The Metropolitan Museum of Art, 2000–. (December 2008) Kuritz, Paul. The Making of Theatre History. Englewood Cliffs: Prentice Hall, Lee, Sherman E. "Noh: Masks and Robes." The Bulletin of the Cleveland Museum of Art 62.2 (1975): Cleveland Museum of Art. Web. 25 Apr Vollmann, William. Kissing the mask : beauty, understatement, and femininity in Japanese Noh theater. New York: Ecco, 2011.