Noh is the classical theatre of Japan which was codified in the 14th century by the father and son actors Kan'ami and Zeami under the patronage of the Shogun (supreme military leader) Ashikaga Yoshimitsu. Under Yoshimitsu the Zen principles of restraint, understatement, economy of movement and frugality of expression became incorporated into the performance. By the early seventeenth century Noh had become an even more austere and formalised drama reserved almost exclusively for the military elite.

This Noh mask representing the aged warrior Taira Kagekiyo, who, rather than witness the triumph of his enemies, the Genji clan, gouged out his eyes and went into self-imposed exile in the province of Hyuga. The mask shows Kagekiyo as a lonely, yet dignified old man; the use of horsehair for the moustache and beard adds realism to the face.

In the Noh play ‘Kagekiyo’ we see the former warrior as an old blind beggar. His daughter journeys from Kamakura to find him and by chance comes to his desolate hut to ask directions. Ashamed of his wretchedness, he sends her away without revealing himself. A nearby villager brings her back and father and daughter are moved to tears at their reunion. Kagekiyo consents to tell of his exploits in battle but resolves that she must return home. After the narration of his exploits the daughter leaves her father.