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Description

Male Bunraku theatre puppet (part a) wearing a long heavy robe. He has a removable head (part b) and separate sword (part c). The body has an internal wooden, bamboo and paper frame, with cords and rods throughout to control arm and hand movement. There are stuffed cloth bundles around the arms, legs and stomach for added dimension. The character is wearing a long-sleeved, front-closing under-robe, coloured dark orange with elaborate white embroidery across its entire surface. Motifs consist of circular dragons with curvilinear and floral lines in between. Overtop, the puppet is wearing a short-sleeved, vest-like robe. The shoulders and lower half are pleated. Coloured dark purple with a dark grey meander pattern background. Throughout there are embroidered circular dragons divided by rows of flowers; designs in white, dark orange and dark green. Matching belt tied around waist. White wooden hands extend past the sleeves. The head (part b) consists of a beige square-like face, long beige neck and styled black hair. He has a wide nose, large light grey eyes, and wide slanted eyebrows. A pointed diagonal red line is painted across both eyes, lips are done in a matching red. He has a light blue beard and moustache. Hair is pulled into a top knot, with a paper bow secured behind. Head is attached to a wooden rod with a handgrip. Multiple cords, with toggles, run through the grip and into the head, to control eye, eyebrow, mouth and neck movement. Maker's mark stamped onto base of head and along back of handgrip. The short curved sword (part c) is sheathed. It has a black hilt with a bronze-coloured metal pommel and guard. The sheath is black with a bronze-coloured metal cap. The sheath’s grip is dark brown and has light brown flowers painted across it. Brown, grey and white striped cord tied around the blade, to attach it to the puppet’s belt.

History Of Use

Bunraku puppetry consists of three elements: text chanted by the tayū or narrator, the music played by the three-string shamisen, and the large puppets that execute the action of the characters, manipulated by visible animators. This theatrical form emerged during the early Edo Period, when puppetry was coupled with Johruri, a popular 15th century narrative genre. The plots related in this new form derived from two principal sources: historical plays set in feudal times (Jidaimono) and contemporary dramas exploring the conflict between affairs of the heart and social obligation (Sewamono). In 17th century Japan small puppets were manipulated by puppeteers on outstretched arms, but in c. 1730, the three-man manipulation system was adopted, allowing the puppet size to grow. The technique was developed by Yoshida Bunzaburō, master puppeteer of the Takemoto-za, and required three manipulations: the master (omozukai) controlling the wooden head and puppet’s right hand; the first assistant (hidarizukai) holding the left hand; and the second assistant (ashizukai) controlling the puppet’s feet. Bunraku puppets are usually manipulated by three puppeteers. On occasion, minor characters- soldiers, peasants, servants etc.- are controlled by a single person. The puppeteers dress in black and are masked, but the master puppeteer often leaves his face showing and wears formal dress, similar to the tayū. The carved wood head of the puppet is fixed to the end of a rod, which descends from the neck. At the handgrip there are small levers that move parts of the face. The central rod passes through a sack, that forms the body, with a horizontal crosspiece representing the shoulders, which holds up the character’s costume. The limbs of the puppet are suspended from cords attached to the shoulder crosspiece. Thick strips of paper run from the shoulders to the curved strip of bamboo that acts as a waist. A rod is attached to each hand, allowing for articulation of the fingers. The foot manipulator moves the legs of the male puppets with handgrips attached to the figure’s heels. He simulates the steps of the female puppets by manipulating the hem of their kimonos. With his own stomps the foot manipulator creates the sounds of walking and running for the puppet. If the scene needs a female foot to become visible, a detached foot is supplied at the needed moment. Accessories- swords, fans etc.- are held directly in the puppeteer’s hand, which remains hidden in the puppet’s kimono. Puppet heads correspond to fundamental types rather than specific characters. They are classed by sex and social status- young lead, warrior, old man, young female etc.- and are split between “positive” and “negative” characters. Some heads are constructed to execute spectacular effects- faces that split into two to show a demonic personality or heads that split vertically with the strong slash of a sword. The heads are lacquered and coiffed with elaborate wigs, showing the rank and social status of the puppet represented. In 2008, Ningyo Johruri Bunraku puppet theatre was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.

Narrative

Awaji style puppet; Awaji island is well known for its puppetry traditions. Acquired by the seller in Kagawa, on the island of Shikoku.

Iconographic Meaning

The size indicates this puppet played a central character.

Specific Techniques

The hands are decorated with gofun, a white pigment made from pulverized oyster shells.