Kouetsu Utaibon
It is one of the Noh book songs. It is also a Kanze-style Noh book song published in ancient print during the Keicho period from Momoyama to the beginning of the Edo period. It is called Koetsu Utaihon because it is written in Koetsu style typeface. There are three types: special book, color-changing book, and Josei fine book. The special book has the most beautiful binding, and the mica printing pattern by mica is printed on the cover and all the papers of the textbook. The color-changing book has a mica-printed pattern on the cover, the textbook part has a color-changing paper, and the Josei fine book has a mica-printed pattern on the cover, and the body part has a white paint with whitewash.
Matarajin
He is a god who protects the Buddhist temple when have Jogyo Sanmai(event for chanting the Buddhism scriptures and walking around Buddha statues). The principal image of Jogyo-do is Amida Nyorai, but this god is enshrined in the back door where the secret method of demon rebellion is performed behind the temple. He is a mystery God that we don’t know about him in detail but on his left has a hand drum, and Sarugaku performers are revered as their guardian deities and thought that he has a close relationship with Noh performing arts. At the Tonomine, Tanzan Shrine in Sakurai, Nara Prefecture, where Kan’ami and Zeami’s father and son worked with respect, has a white old man is enshrined as Matarajin in the back door of Jogyou-do (place to held Buddha’s events). The festival of this God, Kyoto Uzumasa-Kōryū-ji cattle festival is held in the 20th night Yomatsuri festival of Iwate Prefecture Hiraizumi-Mōtsū-ji is known. It is said that the festival is held dedicated to Matarajin at Jogyou-do.
Kurokawa noh
It is Noh that has been handed down from the Muromachi period to Kurokawa, Tsuruoka City, Yamagata Prefecture. It has been handed down from generation to generation as a Noh performing art dedicated to the local Kasuga Shrine, and it retains a tradition not found in the current fifth-class Noh. There are Jouza style and Geza style, Noh is No. 540, and Kyogen is No. 50. Noh mask used on the stage has 230, Noh costumes are in possession of about 400, Noh book has been left many also compounds. It is designated as an important intangible folk cultural property of the country as a very large and valuable folk performing art. It is often performed at Kasuga Shrine’s royal festival on February 1st and 2nd.
Kanjin Noh
It is Noh that is held to solicit donations from people for the purpose of building shrines and temples. Later, it became a commercial entertainment for Noh actors themselves who named it. The origin is unknown, but during the Muromachi period, Otoami’s 1433 (Eikyo 5) Tadasukawara’s Kanjin Noh and Zenpo’s 1505 (Eisho 2) Awataguchi Kanjin Noh were famous. In the Edo period, Kanjin Nohis not only held the first-class lords of the four seats, there was also the Kanjin Noh of the first generation of the Kanze lord, who said that they had huge profits. The last of Edo, Kanjin Noh (Koka Kanjin Noh) was held outside the Edo- suji Bridge gate by Tomoyu Hosho in 1848 (koka 5). It was same a picture at this time depicted a large crowd of Edo townspeople fathering on a vast site
Waranbegusa
A message of Kyogen in the early Edo period. It was written by Toraaki Yaemon (1597 (Keicho 2) to 1662 (Kanbun 2)), the 13th generation of the Kyogen Okura school , and was established in 1660 (Manji 3). “Kyogen Kogosho” was written by adding annotations to “Kyogen” written based on the teachings of his late father, Torasei, and ” Waranbe grass ” was created by modifying this. It is the oldest Kyogen message , which is few in number compared to Noh, and strongly insists on its own legitimacy. Noh mask there is, knowledge of etiquette and acting on the Kyogen, Noh music general of the story, genealogy, a wide range of content such as autobiography is written.
Rikugi
One of the messages handed down by Zeami to his son-in-law, Konparu Zenchiku. It was reported in March 1428 during the Muromachi period when Zeami was 66 years old and Zenchiku was 24 years old. The Contents, Ki Tsurayuki preached the six types of Waka poesms- Japan poems and “Rokugi” which he wrote in the kana preface of Kokinshu- ancient and mordent books by applying the art of Noh. Collection of Hozanji temple in Ikoma, Nara. A cultural property designated by Nara Prefecture. Apart from this, it may also refer to the script of Kyogen.
Konparu Zenichi
From 1405 (Oei 1212) to 1470 (Bunmei 2)? .. he is a Noh actors and creators in the middle of the Muromachi period. The name is Ujinobu. Zenchiku is the legal name. He was the son-in-law of Zeami, a great Noh master, and was active in a wide range of areas, mainly in Nara, as a great performer of the Konparu style. He received numerous teach receiving guidance from Zeami, and himself wrote a lot of Noh book such as “Noh with Depending on the five sounds ,” “Kabu- dance and song books”, “six-wheeled performer record”, “Akirayado Collection” . He is also highly regarded as a Noh author, and there are many elegant but quiet plays such as “Basho,” “Teika,” “You Kihi,” “Tamakuzu,” and “Koshio.” It is also reported that he provided various assistance to Zeami who was swept away by Sado in his later years, , and it is remembered that he was a deeply emotional person.
Fuushi kaden
It is a Noh book that was written by Zeami. Actually, Zeami had a lot of success in Noh but the book also added the idea of Noh book which the father Kan’ami wrote. In general, it is known as ” Hana densho “. It consists of 7 editions, the famous ” Hisu sureba, Hana – secret of skill” is also written. It was established in the Oei era (1394-1428) in the early Muromachi period, and was kept secret for a long time. It is discovered, reprinted and published by a history and geographer and doctor of litterature Togo Yoshida (1864- 1918) in Meji 42(1909), then Kan’ami and Zeami have come to be evaluated by the world. Troupe secrets have been written widely for the prosperity, Noh not only to the relation people, have been read widely in such as educators and managers.
Toyotomi Hideyoshi
From 1537 (Tenbun 6) to 1598 (Keicho 3). He is a warlord of the Azuchi-Momoyama period. From a peasant to a world-renowned man, he is said to be “the best person in the Sengoku period.” In addition to being a talented military walord, he was also a large patron who supported the culture of the Momoyama period, such as architecture, painting, Noh / Kyogen, and tea ceremony. He was so fond of Noh that he was said to be “crazy Noh,” and he danced Noh himself in front of the emperor, and he himself made the leading role in Noh. Including the Noh, entertainment is mass that is transmitted to collect a large number of people and Hideyoshi is said to have attracted the force on the system side by becoming a patron of Noh and Kyogen. The Tokugawa family also took over this and protected it as a Noh ceremony music of the Edo Shogunate , laying the foundation for the transmission of Noh and Kyogen. In this way, Hideyoshi’s existence was very important for Noh and Kyogen.
Zeami
1363 (Sadaharu 2)? ~ 1443 (Kakitsu 3)? .. He is a Noh actor and creator in the early Muromachi period. His name is Motokiyo, and his common name is Saburo. The eldest son of Kan’ami , the second generation Kanze Daio. Along with his father, he is a master of Noh and is sometimes called “the king of Noh.” He seemed to be an outstanding beautiful child, and gained the favor of Yoshimitsu Ashikaga, and all the warlords around him supported him. Father after the death, joining the Kanze style, in order to develop a style that competes with other styles he wrote a famous Noh book as “Fuushi Kaden” . However, when the shogun- commander moved from Yoshimitsu and Yoshimochi to Yoshinori, the interest for Zeami style was lost. Zeami in his later years, after he lost his son Motomasa and Motoyoshi, and was swept away by the shogun’s instinct to Sado, and he seems to have died unfortunately. But he is always also highly regarded as a Noh actor, and many of the famous songs currently being performed, such as “Takasago,” “Kiyotsune,” “Izutsu,” “Kinuta,” and “Fusion,” are considered to be Zeami’s works.
