Six centuries after its emergence, Japanese Noh theater is still being performed. Mixtures of Japanese ideologies and arts can be found in this complicated and enigmatic play, and the influence of Zenism on the creation and enhancement of Noh theater can be investigated and contemplated upon. Despite the fact that some scholars questioned and challenged the significance of this influence, others argued that Noh theater is completely derived from Zenism in Buddhism. This paper aimed at revealing the profound and unbroken connection between Zenism and Noh theater by investigating some of the theoretical and practical principles of Noh theater, including the aesthetics, kinesthetic, mask features, the directing of actors, etc. Such a link was created largely because of the ingenuity and ideas of Zeami Motokiyo, an actor, playwright and theoretician of Noh theater. He has utilized Zen concepts in Buddhism directly and indirectly to compile the principles of Noh theater, that is why ideas of this Eastern theater master can themselves be regarded as the manifestation of Zenism’s concepts in Noh theater.