THE AESTHETICS OF MAKEUP IN THE SCENIC IMAGES OF TRADITIONAL JAPANESE KABUKI THEATER

Abstract

The aim of the article is to reveal the role of makeup artistry in the scenic images of traditional Japanese theater. The research is based on a comprehensive approach that integrates the synthesis of cultural and art studies methodologies, where the cultural component plays a leading role. In the process of understanding the cultural phenomenon of Kabuki theater, approaches have been introduced to clarify the symbolic, aesthetic, and functional aspects of kumadori makeup. The semiotic approach allowed for an exploration of the significance of colors, patterns, and their geographic distribution within the makeup system. The aesthetic analysis of the research object made it possible to identify artistic techniques and methods used in Kabuki theater to enhance the dramatic expressiveness of characters. Scientific Novelty. The study provides a holistic understanding of the role of makeup in defining a character’s personality, emotional expression, and its significance in shaping the distinctive aesthetics of traditional Kabuki theater. Makeup is often considered by researchers as a secondary aspect of stage practice; however, this publication highlights its integral role in forming the spiritual and artistic dimensions of theater. Conclusions. The interdisciplinary approach used in analyzing makeup focuses on its stylistic features, specific functions, and symbolic meanings. The study emphasizes that the role of makeup in this tradition goes beyond merely aestheticizing the body; it embodies symbolism rooted in Shinto and Buddhist traditions. It is underscored that, in this context, makeup serves as a means of expressing the worldview of Japanese culture. A connection is traced between stage makeup and broader constructs of beauty, color perception, cultural identity, and the nature of sacralization. By addressing these aspects, the study offers a new perspective on the cultural significance of makeup artistry, positioning it as a key construct in the formation of stage art in Kabuki theater and artistic culture as a whole. Since this publication is considered interdisciplinary, intersecting fields such as cultural studies and art history (particularly in its applied aspect), it opens new avenues for discussing various issues at the intersection of ritual, art, and cultural identity in the theatrical sphere.