An Unusual Career Beginning as a Makie Master

In the 19th century, Shibata Zeshin (1807–1891) stood out as one of the most unconventional figures in Japanese art.
He originally set out to become a makie-shi — a lacquer craftsman specializing in sprinkling gold and silver powder onto lacquered surfaces. At that time, makie production was strictly divided into specialized roles, and the designs were usually provided by painters.

Yet Zeshin thought to himself:

“If I cannot even draw the designs myself, can I truly call the finished work my own art?”

Driven by this conviction, he began to study painting seriously. In time, he gained recognition not only as a lacquer craftsman but also as a painter. By mastering both fields and blending them together, Zeshin forged his path as a “two-sworded artist.”

Turning Lacquer into Paint

What made Shibata Zeshin a truly unique figure was his invention of urushi-e — lacquer painting.
Traditionally, lacquer was used to coat or decorate objects such as boxes or furniture. Zeshin boldly applied lacquer directly onto paper, using it as if it were paint.

Zeshin’s lacquer paintings were not limited to black. He worked with colored lacquers—reds, greens, browns, as well as black—to draw richly varied color fields and textures. In some works he added gold leaf or mother-of-pearl as accents, creating on paper a distinctly lacquered gleam and a sense of deep tonal shading. The surface’s luster and reflective nuance change with lighting and viewing angle, and Zeshin intentionally tuned the appearance by selecting finishes such as high-gloss, matte, or abraded surfaces. Lacquer also undergoes gradual color change over time (through polymerization/oxidation); that property applies to lacquer painting as well.

Why the World Was Astonished

Why did Zeshin’s works captivate audiences overseas? Several reasons can be identified:

• Unexpected Materials and Ideas
  Painting with lacquer on paper was an unheard-of concept in the West, and his work appeared as an entirely new fusion of painting and craft.
• Fresh Visual Effects
  The depth of lacquer black, the brilliance of gold and silver powders, and the vivid glossy sheen created dramatic effects unfamiliar to European eyes. Particularly striking were his “deceptive lacquers” that imitated materials such as rosewood or metal so convincingly that, when picked up, the surprising lightness astonished viewers.
• The Context of Japonisme
  In the 1870s, Europe was in the midst of the Japonisme craze. Zeshin’s work reinforced the idea of “JAPAN = lacquer” and quickly became a prized status symbol among aristocrats.
• Technical Marvels
  His ultra-fine brushwork could capture even the downy hairs of insects, a feat said to be nearly impossible even for modern masters. He also revived forgotten techniques such as seigaiha-nuri (wave patterns) and invented new methods like shitan-nuri (rosewood-effect lacquer) and suzu-nari-nuri (metal-effect lacquer).
• The Spirit of Edo Aesthetics
  Zeshin often infused his works with playful wit and stylish sophistication — qualities that felt refreshingly new and intellectually engaging to Western audiences.

Triumph at the World Expositions

Zeshin’s originality shone on the world stage. At the 1873 Vienna World Exposition, his “Fujidagoura Makie Frame” was awarded the Progress Medal, marking a major moment in his international recognition. His works transformed lacquer from a traditional craft into an art form admired worldwide.

Conclusion — A Bridge Between Tradition and Innovation

By mastering both painting and makie, Shibata Zeshin opened the way to new forms of artistic expression. His invention of lacquer painting was not only technically groundbreaking but also culturally shocking to the West.

Shibata Zeshin remains a symbol of Japan’s ability to bridge tradition and innovation. His daring originality continues to inspire and fascinate audiences around the world today.