Macaque Monkey on a Rock by Shibata Zeshin 柴田是真 (1807–1891)

Meiji era (1868-1912), 1884

This kakejiku (掛 け 軸, hanging scroll) features the dramatic composition of a white macaque monkey perched precariously on the edge of a cliff, which looms at unknown heights above a full moon. The wintery sky is dark and hazy, expressed through fluid washes of grey behind the monkey and moon. The monkey’s thick, long hair is finely rendered and his beady eyes seem to brim with apprehension. The animal’s expression and characterful feet show how closely Zeshin observed the subjects portrayed in his works. The contrast in brush stroke width and tone across this work is spectacular, which illustrates Zeshin’s masterful control of this medium.

This painting is rendered in ink and colours on kempon (絹 本, silk canvas) on silk mounts. It is signed gyōnen nanajūhachi-ō Zeshin which translates to ‘The age I have attained so far is 78—old man Zeshin,’ although he was actually 77 (in Japan, one is ‘one’ year old at birth). This scroll was made in the last decade of Zeshin’s career, evident in its masterful representation of nature, emotion and light. Sealed with the artist’s name, this painting resides in its original wooden box within a new, protective lacquered outer box and a cardboard slipcase. Its mount may be original, the kirijiku (桐 軸, roller ends) are wooden, and the case’s cover bears the words ‘tama-e’, meaning ‘precious painting.’

Shibata Zeshin

Shibata Zeshin was one of the most innovative and versatile artists of nineteenth-century Japan, renowned above all as the greatest lacquer artist of the Edo–Meiji transition, while also excelling as a painter and designer. Born in Edo (Tokyo), he trained from childhood under the master lacquer artist Koma Kansai, who encouraged him to study painting in order to design his own lacquer works. Zeshin went on to study Shijō-school painting under Suzuki Nanrei and Okamoto Toyohiko, developing a rare ability to move seamlessly between pictorial art and applied design.

Zeshin revolutionized Japanese lacquer by reviving lost techniques and inventing new ones, including bronze-like lacquer, rust-iron effects, and ink-painting simulations in urushi. His works, which range from maki-e boxes to paintings that imitate ink, metal, or ceramics, are admired for their wit, technical daring, and refined humor. Equally respected as a painter, he maintained close ties with leading artists such as Utagawa Kuniyoshi, and trained many pupils, including his sons. In 1890, he was appointed Imperial Household Artist, affirming his status at the highest level of official recognition. His work was widely exhibited during his lifetime, including at international expositions, and played a key role in shaping Western appreciation of Japanese art during the era of Japonisme. Today, he is regarded as a pivotal figure linking traditional craftsmanship with modern artistic expression.