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Lot Essay
This rare lacquered scabbard is one of only about a dozen recorded and extant examples by Shibata Zeshin.
Zeshin became a prolific painter of popular subjects, widely admired by the townspeople of Edo. His light-hearted, vivid depictions of everyday life, customs, and legends were among the first Japanese artworks to gain recognition in the West following the Imperial Restoration. He is most celebrated, earning acclaim at major exhibitions both in Japan and abroad during the later decades of his career. His various works reflects the influence of the Shijo and Rinpa schools, as well as the Chinese-inspired style of Ogawa Haritsu (1663–1747). Zeshin pioneered the technique of painting with lacquer on paper, creating works of remarkable depth, richness, and three-dimensionality.
This scabbard here exemplifies Zeshin’s mastery of technique and his innovative approach, representing a particularly rare and distinguished example within his works.
For other lacquer scabbards by Zeshin, see Shibata Zeshin: From Lacquer Arts To painting (Tokyo: Nezu Museum , 2012), no. 40 and 41.
Zeshin became a prolific painter of popular subjects, widely admired by the townspeople of Edo. His light-hearted, vivid depictions of everyday life, customs, and legends were among the first Japanese artworks to gain recognition in the West following the Imperial Restoration. He is most celebrated, earning acclaim at major exhibitions both in Japan and abroad during the later decades of his career. His various works reflects the influence of the Shijo and Rinpa schools, as well as the Chinese-inspired style of Ogawa Haritsu (1663–1747). Zeshin pioneered the technique of painting with lacquer on paper, creating works of remarkable depth, richness, and three-dimensionality.
This scabbard here exemplifies Zeshin’s mastery of technique and his innovative approach, representing a particularly rare and distinguished example within his works.
For other lacquer scabbards by Zeshin, see Shibata Zeshin: From Lacquer Arts To painting (Tokyo: Nezu Museum , 2012), no. 40 and 41.