Shibata Zeshin

A lacquer maker and painter from the end of the Edo period to the Meiji period. Born in Tachibana-cho, Ryogoku, Edo. Commonly known as Junzo. His childhood name was Kametaro, and his pen names were Reisai, Tairyukyo, and Chinryutei. At the age of 11, he became a disciple of lacquer artist Koma Kansai (1767-1835), and at the age of 16, he studied painting under Suzuki Nanrei (1775-1844) of the Shijo school. In the spring of his 24th year, he traveled to Kyoto to study, where he was introduced to Okamoto Toyohiko (1773-1845) by Nanrei. He also had connections with Rai Sanyo, and studied waka poetry under Kagawa Kageki. At the age of 27, he was given the pen name Zeshin and the pen name Tanzen by Nanrei, changing his name from Reikai. In February 1840 (Tenpo 11), at the request of the Edo Sumiyoshi Meitoku-ko, he created and dedicated a votive plaque, "Demon Woman Face Plaque," to the Oji Inari Shrine. Its powerful brushwork and beautiful expression, full of spirit, became a hit throughout Edo. His representative work, "Ibaragi Doji Plaque," is still preserved at the same Inari Shrine. Later, he perfected the Zeshin school of lacquer art, making full use of techniques such as Seigaiha lacquering and bronze lacquering. In 1873 (Meiji 6), at the recommendation of the government, he exhibited "Fujitagonoura Maki-e Face Picture" at the Vienna World Exposition, where he received the Progress Award, and has since received many awards at exhibitions both in Japan and abroad. In particular, his lacquer paintings, which are painted with colored lacquer on washi paper, are a unique style of painting that is reminiscent of oil painting. In 1890, he was appointed an Imperial Household Artist. His lacquerware works, which combine the exquisite shape of the vessel with the decorative lacquer, represent the refined Edo style, and one of his representative works is the "Uro Maki-e Confectionery Container" (Tokyo National Museum). His paintings are characterized by their chic subject matter and humorous content.

[Goka loyal retainer]

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

幕末から明治の漆工、絵師。江戸・両国橘(たちばな)町生まれ。通称順蔵。幼名亀太郎、号は令哉(れいさい)、対柳居(たいりゅうきょ)、枕流亭(ちんりゅうてい)。11歳で蒔絵師(まきえし)古満寛哉(こまかんさい)（1767―1835）に入門、16歳のとき四条派の鈴木南嶺(なんれい)（1775―1844）に絵画を学び、24歳の春、京都に遊学し、南嶺の紹介で岡本豊彦(とよひこ)（1773―1845）につく。また頼山陽(らいさんよう)と交わり、和歌を香川景樹(かげき)に学ぶ。27歳のとき、南嶺より号是真、字(あざな)儃然(たんぜん)を贈られ、これまでの号令哉を改めた。1840年（天保11）2月、江戸住吉明徳講の依頼で王子稲荷(いなり)社に絵馬『鬼女図額面』を制作奉納、その迫力ある筆致と気魄(きはく)に満ちたみごとな表現は江戸中の人気の的となった。同稲荷社には代表作の『茨木童子(いばらぎどうじ)図額』も現存している。のち変(かわり)塗りの青海波(せいがいは)塗りや青銅塗りなどの技法を駆使して、是真流の漆芸を完成させた。1873年（明治6）政府の推挙でウィーン万国博覧会に『冨士田子浦(ふじたごのうら)蒔絵額面』を出品、進歩賞牌(しょうはい)を受賞して以来、内外の展覧会で多くの賞牌を受ける。なかでも、和紙の上に色漆(いろうるし)で描く漆絵は、油絵を彷彿(ほうふつ)させる是真独得の画法である。1890年帝室技芸員に任命。漆器の作品は、器形の妙味と、加飾の蒔絵がよく調和して粋(いき)な江戸趣味を表し、代表作に『烏鷺(うろ)蒔絵菓子器』（東京国立博物館）がある。絵画では小粋(こいき)な題材やユーモラスな内容の俳味のあるものに特色をもった作品が残っている。

［郷家忠臣］

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