Its round neckline, partially unattached double-width sleeves, and long narrow body form what would be considered a distinctly masculine silhouette, but the complex gauze with which this unlined kariginu is constructed gives it a translucence and lightness absent in its lined counterpart (cat. no. 144). The design of cherry blossoms, cherry sprays, and rafts, executed in white silk, contribute to its gentler impression; the background, now somewhat faded to brown, was purple when the piece was new.

The “flowers and rafts” motif, often found in visual art and literature, is thought to derive from the “rafts” formed by clustering fallen cherry petals as they float down a stream. The design conveys both the glory of spring and the transience of life.

Unlined kariginu robes are generally chosen for the roles of aged gods, fallen warriors, and young male courtiers of high stature. This example might convey the poetic sensibility of a youthful aristocrat. When skillfully selected, the costumes’ colors and motifs complement the masks’ expressions and the poetic language of the Noh script to give the viewer a richly layered, evocative theatrical experience.