宇髙通成　面乃会々員　作品

the UDAKA Michishige Mennokai MaskCarving Group

Atelier de sculpture de masques Men no kai de Michishige UDAKA

oeuvres des membres de l’atelier

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OkinaNoboru TAKADA

翁高田 昇

ShakaNoboru TAKADA

釈迦高田 昇

MasukamiRebecca OGAMO

十寸髪小鴨梨辺華

Ō-BeshimiEiji TAMURA

大癋見田村英司

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HannyaEiji TAMURA

般若田村英司

Hakushiki-JōYukiko NARITA

白式尉成田裕基子

HannyaYukiko NARITA

般若成田裕基子

ŌtobideMariko CHIBA

大飛出千葉真理子

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Ō-DōjiHiroshi IMANISHI

大童子今西 弘

KasshikiHideo HARADA

喝食原田英男

DōjiMakiko SAKATA

童子坂田麻起子

Saru-TobideShōko MAEDA

猿飛出前田晶子

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AyakashiShōko MAEDA

怪士前田晶子

ChūjōYukiko SHINZAWA

中将新澤由紀子

ShōjōYukiko SHINZAWA

猩々新澤由紀子

Sankō-JōHarumasa SAKAKIBARA

三光尉榊原晴勝

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ShōjōHarumasa SAKAKIBARA

猩々榊原晴勝

SemimaruHarumasa SAKAKIBARA

蝉丸榊原晴勝

ShikamiYukiko NARITA

顰成田裕基子

KurohigeMariko CHIBA

黒髭千葉真里子

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45

JūrokuEiichi NISHIKAWA

十六西川榮一

KoutsutsuNoboru TAKADA

小現高田 昇

HeitaHiroshi OKADA

平太岡田 浩

Ishiō-JōRebecca OGAMO

石王尉小鴨梨辺華

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Myōga-AkujōKeiko UDAKA

茗荷悪尉宇髙景子

Ko-OmoteKatsumori MATSUSHIMA

小面松島克守

DōjiYukitoshi NAKATANI

童子中谷幸俊

Ko-OmoteZenji MIURA

小面三浦善司

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Ko-OmoteTatsuya OKA

小面岡 達也

Ko-OmoteNatsuko HISHINUMA

小面菱沼夏子

Genshigumo-no-ReitachiMichishige UDAKA

原子雲霊達宇髙通成

Genshigumo-no-ReitachiMichishige UDAKA

原子雲霊達宇髙通成

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小面の特徴は、童女の顔と成長した女性の顔との不可思議な融合に有り、大体に於いて解脱の美しさをもって草木の精等に代表される。能楽「雪」「井筒」「東北」等に使用。

The distinctive characteristic of this young woman’s mask is the mysterious fusion of childlike and womanly qualities in its expression. It is used to represent the beauty of enlightenment as seen in the spirits of plants or natural phenomena as well as for woman’s roles of a particular innocence or purity. It is used in such noh as Yuki (Snow) for the role of the spirit of Snow, or Izutsu (The Well-curb) for the role of the woman who loved poet Ari-wara no Narihira.

金剛孫次郎は、若くして亡くなった妻への慕情やみがたく、その面影を面に写したというのが、この面である。小面が解脱の美しさとすれば、孫次郎は煩悩の美しさであり、最も品位のある

能面解説The distinctive characteristic

（HWDサイズ単位：mm）

小面Ko-Omote

220 ×139 ×74

p22, 46, 47

孫次郎Magojirō

215 × 140 × 70

p21

美しさの頂点の鬘物に用いる。能楽「船弁慶（前シテ）」「熊野」「松風」等に使用。

So as not to forget her features, KongōMagojirō carved a mask as a likeness, or omokage, of his wife after her death. Used only by the Kongō School, it is named for the carver. In contrast to Ko-Omote which could be said to depict the beauty of enlightenment, Magojirō is the image of the beauty of human passion and desire. It is used in the first half of such noh as Funa-Benkei for Shizuka Gozen or in Matsukaze for the fishergirl who loved poet Ariwara no Yukihira.

全体に崇高な品位があって端正であり、女神・天女・神仙女の曲に用いられ、これらの曲の多くは、天冠を頭に頂くので、増女のことを「天冠下」とも呼ぶ。能楽「西王母」「羽衣」「三輪」「江口」等に使用。

Refined and austere, this mask is used for the roles of heavenly maidens, goddesses, bodhisattvas or women with supernatural qualities. Because it is often used in roles where a crown or gilded headdress is worn it may also be called tenganshita, meaning ‘below the crown’ in reference to this accessory. It is used for roles such as the Heavenly Maiden in Hagoromo (The Robe of Feathers), or courtesan Eguchi-no-kimi, later revealed to be the Bodhisat-tva Fugen, in Eguchi.

目元、口元は増女に近いが、眉のつけ根に見られるほんのりとしたくぼみと、その上部の額の凹みが大きな特徴。神楽を舞う活動的な女神や、巫女をよく表現している。能楽「絵馬」「三輪」「龍田」等に使用。

While the modeling of the eyes and mouth are similar to that of Zō-Onna, the distinc-tive features of this mask are the points of tension in the forehead and cheeks. It is used to represent a woman, such as a shamaness, in a state of possession, or a goddess. It is used for the role of a shrine maiden in Makiginu (The Rolls of Silk), or the sun goddess Amaterasu in Ema (The Votive Tablets).

名称の由来は、額と顎がやや突き出していて顔の中央部分がくぼみ加減で、しゃくんでいる様に見える事から来ている。頬の筋肉も少し弛んで口端の両側にえくぼが有り、目は潤んで伏し目がちに見え、髪は中年女性の乱れ髪を思わせる。能楽「隅田川」「三井寺」「富士太鼓」「百万」等に使用。

This mask of a middle-aged woman is used primarily for the role of a distraught mother searching for a missing child. Its name is derived from the hollowed out quality of the cheeks and the mask is also distinguished by the well-defined shapes of its features. It is used for the roles of mothers searching for children in Sumida-gawa, Mii-dera or Hyakuman.

小町については、色々な伝説があり、必ずしも定かではない。六歌仙の中の唯一の女性で、若い頃は容姿もまた並びない美しさだったと云われている。史実では七十歳近くで没したと云われているが、能では絶世の美女といわれた小町が百歳近く年老い、見るにしのびない有様となっている。この侘しい小町の相貌を写したのがこの面である。能楽「卒都婆小町」「関寺小町」「鸚鵡小町」等に使用。

Heian period poetess Ono no Komachi served at the Imperial court and is the only woman among the Six Poetic Genius-es named by anthologist Ki no Tsurayuki. An unrivaled beauty in her youth, she lived to be nearly ninety. In noh she is most often portrayed as a woman of over 100 years, living in seclusion. The expression is quiet and a sense of Komachi’s refine-ment and past beauty remain. Noh about Ono no Komachi in her old age include Sotoba Komachi (Komachi on the Stupa), Seki-dera Komachi (Komachi at Seki-dera) and Omu Komachi (Komachi’s Parrot-

増女Zō-Onna

215 ×138 ×70

p23

十寸髪Masukami

207 × 136 × 71

p40

曲見Shakumi

220 × 148 × 78

p25

小町老女Komachi-Rōjo

220 × 147× 80

p24

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answer Poem) .

原子雲で亡くなった我が子の霊を探し、霊界を尋ね歩く。地獄の苦しみを見た母親の顔は・・・

An original noh mask created for Inori, Prayer, (originally titled Genshigumo, The Atomic Cloud ), it depicts a mother who goes to the Land of the Dead to seek out the spirit of her daughter who died in Hiroshima during the atomic bombing. It is the face of a mother who has seen the sufferings of hell.

能でいう霊とは、生霊や死霊のことをいう。特に霊女は、死霊の面であって、女の怨念が復讐を企てることを本体とする。目元と口元には金具や、金泥の歯を用いた怪士系の工作が見られる。能楽「定家」「求塚」「砧」等に使用。

In noh, women’s spirit masks include those of spirits of the living as well as of the dead. This mask is used to portray women who have died consumed by re-sentment and whose spirits seek revenge. It is distinguished by eyes of beaten brass, gold-tinted teeth and its tormented

expression. It is used for the role of a woman who is responsible for the death of her suitors when she cannot choose between them in Motomezuka (The Burial Mound) or a woman who dies sure she was abandoned by her husband in Kinuta (The Fulling Block).

女の怨霊面である。蛇形の面に、額の毛書きや眉に見られるような、女性らしさを加味して出来上がったと思われる。二本の角、庇状の眉の下には大きなまゆ形の金具の目をむき出し、野獣の様に深く切り込まれ、大きく開いた口には、金具の歯列と、上下二列の牙も見え、激しい敵愾心をむき出している。能楽「葵上」「道成寺」「黒塚」「紅葉狩」等に使用。

This mask represents a woman trans-formed by jealousy and resentment into a serpent-like demon with horns, fangs, and wide gruesome mouth. Traces of her orig-inal feminine beauty can be seen in the hairstyling and delicately tinted eyebrows. It is crafted so that it can express not only fury and resentment but also grief and regret. It is used for the living spirit of Lady Rokujo in Aoi-no-Ue (Lady Aoi), or the woman who changes into a serpent and destroys the bell where the man she seeks has hidden himself in Dōjō-ji.

般若と同様に女性の怨念、嫉妬を怒りとして表現した面である。般若は「葵上」や「道成寺」などに使われるが、さらに獣性を加えた蛇は「道成寺・古式」のみ使用される。真蛇は蛇の中で最も蛇的なものである。「面論記」に「是は男蛇也。竜神事に用いるなり、そうじて大蛇の面なり」とあるのが、それを裏付けている。

Like the Hannya mask, Shinja, too, repre-sents a woman transformed by jealousy and resentment, but emphasizes her feel-ing of rage. Shinja is used only in Dōjō-ji Koshiki, an early style variation of the noh that focuses on the horrific, even bestial, nature of the woman’s transformation as she becomes a serpent to cross the river to find the man she believes has betrayed her. It is the most serpent-like of Ja masks which may also be used in some cases for dragon roles.

能楽「翁」は、他の能曲が演劇的な要素をもって演じられるのに対して、全く祝祷的な儀式としての性格を持つ。従って「翁」に使用される翁・三番叟（黒式尉）・父尉・延命冠者の翁

系四面は、能における根本的な神の面とされ、能面としてもこれを神聖視して特別に取り扱っている。能楽「翁」の専用面。

This unique old man’s mask is worn only in the ritual of thanksgiving called Okina that is performed at the beginning of the year and on special occasions. Hakushiki means white-finished, and the mask rep-resents longevity and the transmission of wisdom. It is always paired with the following Kokshiki-jō mask. The masks used in Okina, which pre-dates noh, are considered to be sacred and before their use all performers involved take part in a purification ritual. The mask represents the godhead, and by donning it, the ac-tor becomes one with the god, or allows himself to be filled with the presence of the god. This is the only noh mask put on before the audience as it is a ritual object rather than the representation of a dra-matic role.

名称の由来は、この面が黒彩色であり、翁を白式尉というのに対して、黒式尉といわれている。翁舞の構成のうち三番目に登場する尉という意味から三番叟といわれている。能楽「翁」の専用面。

This mask is worn by the kyogen actor who takes part in the ritual Okina in the role called Sambaso. Kokushiki means black-finished and the mask represents the agrarian aspects of Japanese cul-ture. The dance by the actor is dynamic

原子雲老女新作能「原子雲（祈り）」新作面 Genshigumo-Rōjo210 × 142 × 70

p36

霊女Ryo-no-Onna

215 ×140 × 80

p26

般若Hannya

213 × 165 × 95

p41

真蛇Shinja

250 × 210 × 90

p27

白式尉／翁Hakushiki-Jō ／Okina176 × 140 × 61

p40, 41

黒式尉Kokushiki-Jō

168 × 137 × 60

p35

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in contrast to the more dignified dance performed by the noh actor wearing the Hakushiki-jō.

名称の由来は、この面の創作者である石王兵衛の名に因んだものである。能の後シテに老体の神が登場する曲目に使うのが本体である。または人間の老人の姿を借りて登場する老木の精にも使われる。能楽「老松」「白楽天」「西行桜」「雨月」等に使用。

Named after the carver Ishiobyōe, this mask is used in the second half of noh for the role of a god or the spirit of an ancient tree. It has a quality of dignity and nobility. It is used in such noh as Ugetsu for a shrine-keeper possessed by the god Sumiyoshi-no-myōjin or in Oimatsu for the spirit of an ancient pine tree.

名称の由来は、室町時代に活躍したこの面の創作者である三光坊の名に因んだものである。この面は、頬骨が突き出ていて、また皺に見られる筋肉にも厚みが感じられる。それだけに小尉や石王尉の上品さに比べると、田夫、

野人らしい粗野な感じがする。能楽「八島」「頼政」「野守」等に使用。

This mask is named for the late 15th century carver, Sankō-bō. In comparison to other old men’s masks it has an an-gular quality of bone structure and deep wrinkles in its cheeks. It is used for an old man or for the spirit of a warrior appear-ing in a transformed, human state, before revealing his true identity. It is used for the role of Yoshitsune in Yashima, site of a famous battle, or Yorimasa about the poet-warrior.

童子といえば一般には子供をさすが、能の場合は神仙としての、永遠の若さの象徴である。その為、何処となく優雅で、しかも妖精的な神秘性が感じられなくてはならない。能楽「枕慈童」「小鍛冶」「田村」等に使用。

The word dōji means a young boy, but in noh the mask is used for the roles of im-mortal beings to symbolize their eternal youth, or for gods or spirits appearing in human form. For this reason it must have both a refined and fairylike quality. It is used for the role of a boy who has be-come an immortal in the Noh Makura Jidō (Jidō and the Pillow) or a manifestation of the god Inari in Ko-Kaji (The Swordsmith).

童子より年かさの相貌で、眉間の皺や険しい眉、キッと見開かれた目に力感がみなぎっている。特に「大江山」の前シテにふさわしい。

The features of an older child than the Dōji, the creases in the brow, the sharp eyebrows and the fiercely open eyes are filled with strength. This mask is most ap-propriate for a role like that of the demon of Mt. Ōe as he appears in the first half of Ōe-yama.

中国での想像上の精霊のこと。全身猿に似て朱色の長い毛におおわれ、顔は人に似ているという。人の言葉を解し、酒を好み、呑むと舞を舞うらしい。従って朱彩色であるが、相貌は童子に近く、妖精的な雰囲気を持っている。能楽「猩々」「大瓶猩々」に使用。

A sea sprite of Chinese legend, the Shōjō is said to have a body similar to a monkey, a human face, and to be covered with red hair. It enjoys human company and loves to drink wine and to dance. It is similar to the Dōji mask and also has a fairylike quality. It is used only in the noh Shōjō

and its variations.

喝食は禅寺の食堂で、献立の名称を声を大にして喝する職名のことである。これは有髪の半俗半曽の少年があたったという。喝食の特徴は、口端をやや後ろに引き、目尻を吊り上げ、厳しく見えるが優しさもあり、理性も感じられる事と、額に前髪があることである。能楽「自然居士」「花月」「東岸居士」等に使用。

The features of an acolyte or lay priest at a Zen temple, serving in the refrec-tory, a distinguishing feature is the almost feminine hairstyling with the forelock of a youth before he has taken the tonsure. The acolytes also were often entertainers who danced, sang or told Buddhist par-ables and the mask has both a quality of the intelligence of a youth whose thinking has been honed by his training in medita-tion and gentleness. It is used in: Jinen-Koji, Kagetsu, or Togan-Koji all noh with titles that are the names of acolytes. They feature a dance with a kakko, waist drum, by the main actor and a display of wit.

禅寺の食堂で献立の名称を、声を大にして喝する職名のことであるが、これらの面を総称した喝食や、さらに若い小現の大きな特徴は、

童子Dōji

210 × 143 × 80

p28, 42, 46

大童子Ō-Dōji

205 × 144 × 76

p42

猩々Shōjō

211 × 140 × 70

p43, 44

喝食Kasshiki

205 × 137 × 71

p42

小現Koutsutsu

206 × 138 × 68

p45

三光尉Sankō-Jō

202 × 159 × 92

p43

石王尉Ishiō-Jō

205 × 152 × 86

p45

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口元や目元の優しさが若い女面の相貌のそれに近い事と、額には前髪が描かれていることである。能楽「花月」に使用。

A mask of the Kasshiki type, this mask represents a younger boy and is quite feminine. It would be used in the noh Kag-etsu for the role of a young boy, spirited away from his home by tengu demons, who later becomes well-known as an en-tertainer, leading to his being restored to his father.

延喜の帝の王子であるので、眉毛の先端をややはねあげ、額に冠型のあることなど、この面の品位が感じられる。能楽「蝉丸」専用面。

This mask is used exclusively for the role of the legendary blind biwa, lute, player Prince Semimaru in the noh Semimaru. The lowered eyes are characteristic of masks used in roles of the blind, while the delicate eyebrows and black band across the top of the mask representing a cap, hint at his royal status and give it a quality of noble dignity.

眉間に苦悩を秘め、頬の肉付きは痩せこけ、悲しみの余り盲目となった主人公の悲劇的な顔を象徴している。能楽「弱法師」のシテ専用面。

This mask is used exclusively in the noh Yorobōshi for the role of a young boy who goes blind from grief after been driven from his home by slander. He takes refuge at a temple where he finds inner peace, and while begging for alms is hap-pily reunited with his father.

十六の若さで須磨の浦の戦いに敗れた少年、平敦盛の顔を写したと言われ、瞳を丸くくり抜いているため、優しさの中にも若武者らしい厳しさも見える。眉もうぶ毛も薄くて初々しい。能楽「敦盛」「経正」「朝長」等に使用。

This mask takes its name from the noh Atsumori in which warrior Taira no Atsu-mori is described as being just sixteen, juroku, at the time of his death. The modeling of the eyes gives the mask a quality that is both gentle and yet ready for battle. It is used for the roles of young

warriors whose stories are told in the Tale of Heike, the 12th century epic of the struggle between Taira (also read Heike) and Minamoto (Genji) clans. It is also used for the roles of other young noblemen warriors in Tsunemasa or Tomonaga.

いかにも合戦を重ねた中年の武将らしい大赭色の顔は、戦場で陽に焼けたさまを思わせる。凛々しい眉毛とピンとはやした口髭、それに歯列も上下にたくましく並んでいる。鎌倉時代の武将であった、梶原平太の顔を写したともいう。能楽「箙」「八島」等に使用。

The features of a middle-aged warrior, the ruddy color of a face weathered on the battlefield, this mask is used for roles of warriors of the Minamoto clan. It is said to be a portrait of Kamakura period war-rior Kajiwara Heita. It is used in Ebira (The Quiver) or Yashima the name of a famous battle site.

平安初期の歌人、在原中将業平を写した面である。口元は女面に近く、どっしりとした鼻

柱は王朝貴公子らしい。しかし、死後修羅道に落ち、永遠の戦いに苛まれ続ける悲劇の主人公でもある。能楽「清経」「小塩」「雲林院」等に使用。

Based on the features of Heian period poet Ariwara no Narihira, while the model-ing of the mouth is similar to that seen in some women’s masks, the strong nose is appropriate for a refined nobleman. The furrows between the eyebrows cre-ate a melancholy expression. This mask is associated with noh that tell the tragic stories of noblemen whose spirits suffer in the Ashura World of Warring Titans af-ter death such as Kiyotsune, but is also is used for other nobleman characters such as the spirit of poet Ariwara no Narihira in Oshio and Unrin-in.

武将怨霊面にふさわしく、目に金具を施し、その周囲に朱をあしらい、また、上下の歯列の先端を金泥で染めている。能楽「船弁慶」「船橋」「鵺」「破潜」等に使用。

Beaten brass eyes accented with red make this mask appropriate for the roles of warrior spirits. As is the convention with masks of spirits or supernatural be-ings, the teeth are also gilded. It is used for the role of the ghost of Taira no To-momori in Funa-Benkei or a man who has been betrayed in Funahashi (The Floating Bridges).

蝉丸Semimaru

204 × 138 × 69

p44

弱法師Yorobōshi

210 × 145 × 68

p29

十六Jūroku

210 × 140 × 75

p45

中将Chūjō

206 × 136 × 72

p31, 43

平太Heita

201 × 143 × 74

p45

怪士Ayakashi

210 × 148 × 87

p32, 43

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この面は文字通り、神の面である。特に脇能・神舞物で若い男体の神に使用。淡い黄土彩色に、眉や髭に端正な毛書きがあり、その上、何よりも眼に金具をはめて、超自然的存在としての神の偉力を表現している。能楽「高砂」「弓八幡」等に使用。

This is a mask used for the role of a god. In particular it is used for the roles of young gods. The light gold skin tone, well-balanced painting of the hair, and the metal inset eyes are an expression of the god’s supernatural character and power. It is used in the noh Takasago or Yumi Yawata.

「へしむ」の名詞形。従ってこの面は、癋見様式を持つ要素が多く、天狗が登場する能曲の特殊演出、特に年を経た天狗の首領として使うことが多い。癋見悪尉は、天狗物の特殊演出「白頭」に特にふさわしい。能楽「鞍馬天狗」「是界」「大会」等に使用。二枚を一緒にかけて登場する能は大変珍しい。

This frowning clenched-mouth mask is used for the roles of tengu, mountain

goblins, usually regarded as the enemies of Buddhism. While the tengu are usu-ally proud and intent on tricking priests into acts of heresy as in Zegai or Dai-E, the tengu in Kurama Tengu is a master of the arts of war and teaches his skills to the young Yoshitsune. The Beshimi-Akujō mask is particularly appropriate in variations of plays where the tengu is portrayed as being very old and strong and is costumed completely in white.

名称の由来は、茗荷の形をした眼を持つ大悪尉ということである。「悪」という字は「わるい」ということではなく、たけだけしく強く恐ろしいことを意味する。脇能「道明寺」の末社の神である白太夫のように人間味ある役や、切能「張良」の張良に軍略を伝授する、とぼけた性格の後シテ、黄石公にも使用。

This is a mask of the akujō powerful old man type, the first part of the name being derived from the shape of its eyes which are like myoga or Japanese ginger. It is used in such noh about gods as Dōmyō-ji where it is worn for the role of a mes-senger of the gods, Shira-tayu, or in the second half of the noh Chō-Ryō for the slightly droll role of the Chinese master of military strategy, Koseki-ko (Huang Shih Kung) who passes on his knowledge after Chō-Ryō retrieves his shoe from a raging river where he has thrown it to test Chō-Ryō’s obedience.

飛出という名称は、眼球が飛び出しているからと言われ、眉が三日月型につり上がり、眼球の部分は金具が埴入され、瞳孔を内に寄せて上下に刳り抜かれている。それは天上界、下界をも見据えていると言われている。能楽「加茂」「嵐山」「国栖」等に使用。

The eyes of beaten brass which seem to leap out at the viewer give this mask its name. One of the eyes of the mask looks above to the heavens, the other below to the earth, as it flies, keeping watch over the world and realm. Used for the god Wakeikazuchi in Kamo or the god Zao Gongen in Arashiyama.

動物の猿を、小飛出化した面である。妖怪「鵺」（鳥の名前）に使用するために創作された面である。近衛天皇を悩まし源頼政に射殺された鵺は、仏法に障害を企てる悪心外道の変化であり、その形は頭が猿・尾は蛇・手足は虎に似て、鳴く声は鵺に似ているといわれている。

The features of a monkey have been incorporated into this mask of the bulg-ing eye type, created for the role of the strange creature in the noh Nue. The nue, a manifestation of chaos and heresy, ap-

peared at the imperial palace night after night to torment Emperor Konoe but was finally killed by Minamoto no Yorimasa the 12th century poet and warrior hero. It had the head of a monkey, the tail of a serpent, the limbs of a tiger and the voice of the bird called a nue.

竜を彷彿とさせる相貌で、いかにも暗い海底や湖底から、出てきた様を表現し、仏法を守る神とされている。能楽「竹生島」「和布刈」「春日竜神」等に使用。

This mask represents a dragon who has come up from the dark depths of the sea or from a deep lake and is a power-ful guardian of the sacred Buddhist Law. It takes its name from its black beard, or kurohige. It is used in such noh as Chiku-bushima or Kasuga Ryujin (The Dragon of Kasuga).

しかみは顔を「しかめる」という動詞の名詞形である。顔面中のあらゆる筋肉をしかめさせ、極端と思われるほどに怒った相貌である。

大飛出Ō-Tobide

203 × 156 × 98

p41

猿飛出Saru-Tobide

205 × 157 × 97

p42

黒髭Kurohige

206 × 151 × 89

p44

顰Shikami

205 × 159 × 95

p44

茗荷悪尉Myōga-Akujō

191 × 158 × 78

p46

癋見悪尉／大癋見Beshimi-Akujō／Ōbeshimi205 × 166 × 83／221 × 181 × 112

p34, 40

神体Shintai

210 × 142 × 80

p30

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53

The Immortal Udappa-Sennin watches over many spirits in the Land of the Dead. Taking pity on the soul of a mother who has lost her child, he helps to reunite them. This original kyogen mask was cre-ated for Inori, Prayer (originally titled Gen-shigumo, The Atomic Cloud ).

広島・長崎の原爆で犠牲になった霊達の長。

This is the leader of the spirits of the vic-tims of the atomic bombings of Hiroshima and Nagasaki, gathered now at the East Gate of the Land of the Dead. This origi-nal kyogen mask was created for Inori, Prayer (originally titled Genshigumo, The Atomic Cloud).

これは仏像を忠実に模して作られた面である。切能の天狗物「大会」だけにしか使わない。天狗が比叡山の僧正に命を助けられ、その礼に釈迦の説法する大会の有様を見せるのである。偽の釈迦に、帝釈天が天から降りて、天狗の魔術を打ち破る。能では一つの場面に能面を二枚も一緒にかけるのはこの「大会」だけである。

This mask is a faithful copy of an image of the Buddha. It is used only in the noh Dai-E. A tengu mountain goblin uses its magical powers to show the scene of the Buddha preaching in payment to a priest who saved its life. The priest, forgetting the scene is an illusion, falls to his knees in awe. Taishakuten, one of the two tutelary gods of Buddhism, appears and chastises the tengu so that the spell is broken and it appears in its true form. This is the only noh where two masks are worn together: the Shaka mask over the Ōbeshimi mask.

黄泉の国を治める宇多津波仙人は様々な霊達を見守り、我が子を失った母親を哀れに思い、その幼子に巡り合えるよう手助けをする。

眼の金具と牙を持つ歯列先端の金泥は、超自然的存在を表す。能楽「修羅門」「紅葉狩」「土蜘蛛」等に使用。

This is a demon mask for male demon roles and is characterized by its grimacing mouth and the gold-tinted eyes and teeth which symbolize its supernatural power. It is used for the role of the evil groundspi-der in Tsuchigumo, or the demon of the Rashōmon Gate in Rashōmon.

一角仙人は天竺の人で、しかも鹿の体内から生まれたという伝説によったものである。彼は神通力を持ちながら、後には美人の誘惑にあいその神通力を失う。しかし、その相貌は神通力を持っているだけあり、霊気の溢れた面となっている。能楽「一角仙人」の専用面。この面がない時は、怪士や真角の面に、別の角をそえて用いる。

This is a mask used only in the noh Ik-kaku-sennin, the story of an Indian hermit who was born to a deer. In the noh he has used magic to imprison the rain dragons and the emperor sends a woman to se-duce him in order to deprive him of his powers. The tip of a deer’s antler is used for the hermit’s single horn.When this mask is not available the mask Ayakashi is used for the role instead.　

一角仙人Ikkaku-Sennin

218 × 152 × 133

p33

釈迦Shaka

245 × 190 × 78

p40

宇多津波仙人新作能「原子雲（祈り）」新作狂言面 Udappa-Sennin193 × 165 × 95

p37

東門霊新作能「原子雲（祈り）」新作面 Higashinomon-no-rei215 × 176 × 100

p38

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題　　名 ： NOH MASKS

発 行 日 ： 平成19年10月4日

著　　者 ： 宇髙通成　Michishige Udaka

価　　格 ： 3000円

発 行 者 ： 宇髙会　Udaka-kai　　　　 〒606-0047 京都府京都市左京区上高野薩田町111　　　　 111 Satta-cho, Kamitakano, Sakyo-ku, Kyoto-shi, Kyoto 606-0047 Japan　　　　 TEL :075 -701-1055 / Fax :075-701-1058　　　　　 http://www.hime.ne.jp/~noh-udaka/index.html

発 行 所 ： 株式会社 東大総研　UT Research Institute 〒113-0033 東京都文京区本郷2-27-16　 2-27-16 Hongo, Bunkyo-ku, Tokyo 113-0033 Japan TEL : 03-5840-9246 / FAX : 03-5840 -9247

デザイン ： 岡　達也 / (有)エクスプリム Tatsuya Oka / exprime inc. 　　　　 〒 102-0082 東京都千代田区一番町 10-10 5F　　　　 10 -10 5F Ichibancho, Chiyoda-ku, Tokyo 　　　　 102-0082 Japan　　　　 TEL : 03-5214-0600 / FAX:03-5214-0601 http : //www.exprime.co.jp/

印刷・製本 ： 株式会社高山　Takayama inc.　　　　 113-0034 東京都文京区湯島1-1-12　　　　 1-1-12 Yushima, Bunkyo-ku, Tokyo 　　　　 113 -0034 Japan http://takayama-inc.co.jp/

協　　力 ： 宇髙通成面乃会 　Udaka Michishige Mennokai 立命館大学アート・リサーチセンター Art Research Center, Ritsumeikan University 赤間亮　Ryo Akama

技術協力 ： 金子貴昭　Takaaki Kaneko

スペシャルサンクス（あいうえお順）　： 宇高景子　Keiko Udaka 小鴨梨辺華　Rebecca Teele 小平春風唄　Uta Kodaira-Schumpp ハナ　ミガーヒ　Hanna McGaughey 菱沼夏子　Natsuko Hishinuma マニグリエ真矢　Maïa Maniglier　 モニーク　アルノー　 Monique Arnaud

図録37-99_0925 07.10.2, 3:20 PM54