«Application of Visual Arts in Japanese Performing Arts» Entered the Publishing Market

According to the correspondent of Iran’s Book News Agency (IBNA) in Gorgan, the book «Application of Visual Arts in Japanese Performing Arts», authored by Rasoul Ahmadi, a veteran artist from Golestan and a faculty member of the National Skills University, has been released to the publishing market. This 116-page illustrated book, in a quarto format with a print run of 300 copies, was laid out by Saboora Nouri Kabir, had its cover designed by Shakiba Haji Askarli, and is priced at 230,000 Tomans, published by Norouzi Publications.

The book is written in four chapters. The first chapter is dedicated to the introduction, and the second chapter describes the emergence of masks and face and body painting.

In the third chapter, after a reference to the history of Japanese art from ancient to contemporary times, it continues by discussing Japanese painting, Nihonga, the Yamato-e painting style, and Suiboku-ga painting. Subsequently, related schools and famous Japanese painters are introduced in detail.

By turning the pages of the book, its fourth chapter enters the world of performing arts, containing topics on Japanese masks and face decoration, the myth of the origin of performance in Japan, Noh plays and masks, the aesthetics of faces, and well-known performances like Gyōken, Kabuki theater, and Bunraku puppet theater.

In a section of this book, we read: “Hundreds of years of experience in mask-making have challenged Japanese artists, and the mask has found its soul through the mask-maker and actor. With the slightest movement, the eyes convey another meaning. The lips come alive as if speaking. Understanding these special features is very difficult for a Western observer. Nevertheless, through the mask, one can somewhat grasp its inner feeling.”

Japanese samurai, raised according to the strict customs and traditions of Confucianism and the ethics of citizenship and nobility, allow themselves to express their slightest inner feelings on their faces, and these special characteristics can empower the Japanese to understand the thoughts of their opponent and fellow actor.