A of the Han general Hankai, signed Ryuusai Omori Teruhide (龍雨斎) with his and dated the sixth month of Meiwa 7 (1770), fixes Omori Teruhide in the later eighteenth century and stands among his most praised works. The published sources give his common name as Kisoji (喜惣次) and set out his place plainly. He was the nephew of Omori Eisho, himself a pupil of the great master Yokoya Somin, studied under Eisho and became the second head of the Omori school. One record calls him Eisho's nephew who was later adopted, and another calls him Eisho's son and "a finer hand than his father." Across the records he is the meijin who brought the line to its flourishing, and the Omori, a branch of the Yokoya gate, are said to have grown under him into a large school that prospered.
The commentary credits two creations to Teruhide himself, and it recites them in almost every entry. The first is the three-dimensional breaking-wave design known as the Omori-wave (大森波). The second is a gold flat inlay that recalls lacquer, called , chirigami- or , which the records say heightened the elegance of his work. The wave is the subject of a paired with of a flock of plovers. There the published sources observe that the surging waves, carved in , "have height and depth and are truly powerful," while the plovers in sculptural are full of movement. On a pair of the breaking sea is set under the rising sun with a bird of prey. The gold inlay itself appears on the Hankai , where the names it among the effects that show "Teruhide's exceptional technique" at full stretch.
His usual medium is worked in , carved in high relief with colour inlay in gold, silver, and . The records list his preferred subjects as lions, animals, birds, flowers and figures. He uses hi-irodo, the scarlet copper, for warm accents: on a lion-and-peony it gives the composition its force, on a pair of lion it colours the tongue, and on a of Chinese children at play it heightens the colour of the whole. His are cut in solid gold or in full . An iron of Shoki and a demon, worked in high relief, departs from that palette. Of it the writes that he took the Nara school as a reference and left visible traces of effort in composition and chiselling, and that here "Teruhide's ability is truly outstanding."
Within this repertoire the lion and peony stand first. On a pair of the peony opens in full bloom while the lion runs beneath it, and the commentary judges the pair so brilliant that it could be mistaken for the work of the Yanagawa branch of the same Yokoya line. Of the lion-and-peony signed with his go, it says that the words "brilliance" and "force" rise from the whole surface. His figure subjects are drawn from the warrior and the auspicious traditions: Hankai forcing his way into the enemy camp to save Liu Bang, warriors contending for the lead across the Uji River, the gohei monkey that drives off ill fortune, and Fugen and Monju in solid gold. A raptor plunging on the is answered on the by a frightened monkey peering from a cave. One of peonies is signed as made after a design by the Kano painter Michinobu of the Kobikicho house.
Beyond single fittings, Teruhide made complete sets of mounts for the Ii lords of Hikone, all carrying their tachibana crest in gold on . A hosodachi for court dress, signed on the kuchi-kanamono, is called by the published sources a clear surviving example of a maker of the ceremonial used by -period . A formal of black lacquer, with his signed , , and , follows the rule for attendance at the shogun's castle. These commissions place his work in the service of a great house, beside the lion, wave and figure pieces that carry his name.
Teruhide's designated record is fifteen works, two at the rank and thirteen at , and every one is signed. The pieces are the Hankai of Meiwa 7 and the Ii hosodachi . He has no National Treasures and no Important Cultural Properties. The provenance on record runs through two houses: the Ii of Hikone, for the two crested , and the Hisamatsu Matsudaira of Iyo, for the Fugen and Monju . No current holder is recorded against his works. Fittings by him in the lion-and-peony or wave subjects come to light only from time to time, and a dated or Ryuusai-signed piece is rarer still. Such a piece shows the side of his art the published sources praise most: the high relief and colour inlay of the lion, the peony and the breaking wave.