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.

The fine features of the mask of Waka-Onna (literally ‘Young Woman’) are emphasised by the high forehead, restrained carving of the eyes and the applied eyebrows on the forehead which indicate high-rank or nobility. The nose is firm yet delicate and the bridge flows gracefully from the middle of the forehead. The mouth is small yet sensuous, the lips parted slightly to reveal the upper teeth which are blackened - again indicating nobility. The slender chin forms a soft, firm outline to the face.

The mask is painted a slightly of-white colour with a touch of a very pale pink around the eyes and cheeks. The hair is thinly painted in black ink and the loose strands are elegantly drawn; the configuration of the loose strands of hair conforms to the mask type and follows the traditional pattern of 2, 4, 3 lines. The narrow eyes, with the merest suggestion of an upper lid, are highlighted in black ink; the mouth is painted a deep red. The mask is used for female roles in many Noh plays including Eguchi (The Harlot of Eguchi), Izutsu (The Well Curb) and Nonomiya (The Shrine in the Field).