Shibayama Inlay

The lacquer inlay art form known as Shibayama is named after the Shibayama area of present-day Chiba prefecture. Shibayama inlay was the brainchild of Ōnoki Senzō, an Edo haberdasher who lived during the An’ei era (1772–1781). His style of ivory inlaying became so popular that he named works done with the inlay technique after his hometown of Shibayama and later also adopted this name as his surname. Shibayama lacquers typically showcase gorgeously inlaid mother of pearl from shells—such as pearl oyster shells, turban shells, and abalone shells—sometimes using cut ivory, tortoiseshell or coral pieces depicting flora and fauna motifs, which are then lacquered. Shibayama differs from other inlaid lacquer arts in that  the intricately carved inlay pieces instead being embedded flush into the ground material, protrude in high-relief above the surface to create an applique-like design. It is this that distinguishes Shibayama from other lacquer art forms. In fact, the word Shibayama can also be used to refer specifically to these relief inlay pieces.

The name Shibayama was first adopted by the founder of the tradition, Ōnoki Senzō, later Shibayama Senzō, and his descendants, as well as by worthy disciples. Works by such masters as Shibayama Muneichi and Shibayama Muneaki attracted great attention at international expositions and exhibitions. Owing to these master craftsmen, the name Shibayama became widely known internationally.

Shibayama lacquers were first produced in Edo (present-day Tokyo). During the Meiji period (1615–1868), brokers began allotting jobs and contracted designs. As export demand increased, these brokers then established export commission houses at Yokohama Port, leading to the gathering of artisans in the area. Thus began the development of Yokohama’s Shibayama lacquer ware with unique Yokohama-style Shibayama inlaying that catered to the tastes and interests of Western markets.

Made as a souvenir item, this piece shows inlays of figures that are clearly Japanese. In the era in which this was produced, artisans worked within a system of division of labor, so there were artisans who specialized only in the carving of faces.

Shibayama artisans who relocated to Yokohama mass produced items for export under the division of labor. During the peak before WWII there were about 500 active Shibayama artisans. Production took a devastating turn as a result of the Great Kantō Earthquake and the air raids during the Pacific War. When production resumed after WWII, a young artisan named Miyazaki Teruo (born 1936), who had been born into a Shibayama inlaid lacquer producing family, sensed the danger of this sophisticated art form devolving into a means to make cheap tourist souvenirs. Miyazaki took it upon himself to acquire the skills necessary to execute every step in the production of Shibayama in an attempt to bring back the delicate art of the Meiji period. Today, as the only Shibayama master in Japan, his works are highly valued by collectors in and outside of the country.

This work too, though it may look large in the photo, is in fact another tiny box-type netsuke, this one with an intricate design of autumn grasses and flowers created in materials of various colors.  The plaited bamboo basket used to arrange and display the plants is executed in dyed ivory.

One place to see works by Miyazaki Teruo and other historical works of Shibayama inlay is at the Kyoto Seishū Netsuke Art Museum. This museum, which opened in autumn of 2007, is housed in a restored, historical mansion, which is in fact the only remaining samurai estate in Kyoto. The museum's thematic exhibitions are created out of the extensive collection of Kinoshita Muneaki, comprising over 4000 works.

The prepared inlay pieces are temporarily attached to the surface of the material into which they are to be inserted, and then a needle is used to punch out the outline before the pieces are removed again. Next, the outlined shapes are carved out to create custom-sized depressions. The next step is to inlay the pieces into the depressions.

Master Miyazaki Teruo is said to be the last master of Shibayama to have inherited the techniques of the Edo and Meiji periods. However, independent artists who have studied under him, such as Gushima Naoko and Matsumoto Kaori continue to create and study the art. Meanwhile, Master Miyazaki also gives lectures at the Yokohama Shibayama Society, contributing to the dissemination of and education about Yokohama’s traditional craft techniques.