Shibata Zeshin
Japanese, 1807-1891

Momotaro (Peach Boy) Subjugating Demons
hanging scroll; ink and color on silk

SBMA, Anonymous gift in memory of Major General George and Marian Price
2009.73

RESEARCH PAPER

This late Edo Period work by Zeshin is accomplished with an adapted flexible lacquer application, which he developed. From the British Museum's collection, the Kamo Festival illustration of the untethered ox embodies the power of his painted lacquer innovation.

Shibata Zeshin was born in Japan in 1807 during the Edo period when Japan was still closed to Western influences and never traveled outside his country. He spent most of his life in the cities of Edo (Tokyo) and Kyoto. His career spanned the end of the Edo period and the restoration of imperial rule during the Meiji period (1868-1912). He experienced the opening of Japan to Western influences. Zeshin is one of the few pre-20th century Japanese artists to become known in the West during his lifetime. His work was shown in exhibitions in Vienna (1873), Philadelphia (1876) and Paris (1889). He won awards within and outside of Japan.

He came from a family of wood sculptors and carpenters. He first apprenticed at the age of 11 with a lacquer artist. At 16 he began lessons in painting. He traveled throughout Japan copying Chinese and Japanese paintings, drawing shrines, statues and all elements of nature. He studied with teachers from the Muruyama and Sjiho schools. In his 20's he began serious work as a lacquer artist. He made trays, boxes, ink paintings. He depicted traditional subjects such as birds, flowers, insects, waterfalls and dragons. He balanced tradition with the new. He wanted his work to be beautiful but not excessive, simple but not dull. Although his subjects were traditional, he was known for developing innovative techniques. He discovered how to make lacquer flexible and strong enough to apply it to paper and silk rather than wood. His method allowed a painted scroll to be rolled and unrolled without the lacquer cracking. His style grew from his serious study of many artistic forms including painting, the Japanese tea ceremony, poetry (haiku), history, literature and philosophy. He methodically sketched from direct observation insects, animals and landscapes; he had a deep reverence for nature. He lived most of his life in Edo in his home that he named Tairyuko (The House Opposite the Willow). He spent much time in green spaces near streams and rocks. His goal was to express the ideal in his work. He was considered a humble man who had deep respect for the common people of Edo. His work captured the daily activities and scenes of Edo during the time when Edo was becoming the modern day capital of Tokyo.

One of the traditions of Japan is the telling of folktales. Zeshin created his version of one of the most beloved tales, Momotaro (Peach Boy) Vanquishing the Demons on a hanging scroll, a painting on silk. It is still a popular folktale told to children today. The story tells of a childless couple who found a peach floating in a mountain stream. They took it home, opened it and found a perfectly formed small human boy inside. The couple named him Momotaro (Peach Boy) and loved him as their own son. He grew up dutiful and brave. The family lived near an island where oni (demons) lived. The oni would make raids on the mainland and steal treasures and take humans as prisoners. When Momotaro was 15 he decided to take action against the oni in order to protect the people on the mainland. His dear mother gave him rice cakes for the journey. Along the way, he met a dog, pheasant, and monkey. Each joined him in his mission in exchange for a rice cake. The four warriors found a boat and went to the island of the oni where they stormed the oni castle. The oni were confident they would be victorious, but they were quickly surprised by the strength and cunning of the four. It did not take long before the oni threw down their arms and surrendered. Momotaro demanded that the oni stop attacking the mainland and return all the treasures they had stolen. The oni king knelt before Momotaro and promised to do as he requested. Momotaro and friends returned to the mainland in a large ship filled with treasures. They spent weeks returning the treasures to their rightful owners. There was enough treasure left over so that Momotaro could return home to his parents with the assurance they would live in comfort for the rest of their lives.

There are many lessons in this story. For parents, it reinforces important societal values. Be cooperative, obey laws, honor your parents and look after them when they are old, defend your society against evildoers. Children have loved the story about this brave small boy and his animal friends who could defeat the oni. Honor, strength, and goodness won the battle.

In our painting we see Momotaro surrounded by his small army of the dog, pheasant, and monkey. The oni/demons are at the bottom of the painting. They have surrendered to Momotaro and have offered him gifts on a tray. At the top right of the painting we see an overhang of rocks with grasses and roots protruding from the rocks. This is an element repeated in many of Zeshin's works. It is a view he often saw as he made studies from the river by his home. In the center part of the painting, bright colors are boldly juxtaposed against each other; they emphasize a royalty of the warriors' garments. The negative space and the asymmetrical balance in the painting emphasize the action and color of the composition. Applying ink and color to silk requires much training and skill. It is not possible to correct or repaint any area that is unsatisfactory. Zeshin would have envisioned the entire painting before starting. Every brush stroke had to be balanced until the painting was finished. This style of painting contributes to a sense of spontaneity and freshness. Any error of a single brushstroke would ruin the work. A year before he died, Zeshin was named a Court Artist by the Emperor. Shibata Zeshin was a master artist and technician who devoted his life to the beauty and traditions of Japan.

A question emerges from this colorful work. Zeshin painted when Japan was opened to the West. Was he influenced by Western art? The water-infused colors of the rocks at the top of the painting are recognizably traditional. The center figures are complex: the faces of our heroes are cartoon like. Their garments are made of swatches of varying colors that include strong outlines. There is a complexity in the fabrics: multiple colors, odd shapes juxtaposed next to each other. There are no geometrical elements to the oni; they are painted in a more curvilinear style in spite of their evil faces. Do these elements reflect a modern Western influence?

Prepared for the SBMA Docent Council by Gail Stichler, June 30, 2010.

BIBLIOGRAPHY
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