Signed: Ichiyūsai Kuniyoshi ga
Artist's seal: kiri in red
Publisher: Sawaya Kōkichi (Marks 460 seal 16-109)
Censors' seals: Kinugasa and Watanabe
Related links: Museum of Fine Arts, Boston; British Museum; Waseda University - right panel only; Sekisui Museum; Hagi Uragami Museum of Art - right panel; Hagi Uragami Museum of Art - center panel; Hagi Uragami Museum of Art - left panel;
"The setting is an abandoned temple on a lonely moonlit moor. Teruuji, standing in the centre, offers a hand towel to his lover Tasogare, who kneels on the ruined veranda wiping her feet with a cloth. From the next room they are spied on by a mysterious female figure dressed in an elaborate costume of a Nō drama, wielding a red and white stage 'wand' in one hand and gripping the cords of a she-devil (Hannya) mask in her teeth. She is Shinonome, Tasogare's mother, who has stolen an heirloom sword that Teruuji is searching for. In the next scene, wearing the she-devil mask, she will attack the lovers and threaten Tasogare with the sword. The design is a tour de force of cutting and printing, particularly in the way it captures the effect of the painting peeling from the sliding panels that separate two rooms." Quoted from: Kuniyoshi From the Arthur R. Miller Collection by Timothy Clark, p. 236. Illustrated in color on pp. 236-7.
This triptych does not represent any actual scene from the Teruuji-based novels or plays which were themselves take offs on the early Mitsuuji, Rustic Genji novels which were very loosely related to the original classic The Tale of Genji.
Use the enlargement tool so you won't miss seeing the carved wooden fish, a mokugyo, hanging from the rafters at the top of the left panel near the full moon.