Shibayama art

The art form known as shibayama is named after the Shibayama area of present-day Chiba prefecture. The shibayama technique was created by 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 lacquer work is understood to be the intricately inlaid mother of pearl from shells—such as pearl oyster shells, turban shells, and abalone shells—sometimes using cut ivory, tortoiseshell or coral that depict things such as flowers, figures and animals. Unlike the somada style lacquer work that is inlaid flush to the surface, shibayama inlay protrudes in high-relief above the surface to create an applique-like design. The name shibayama is used to refer to any inlay work of this type regardless of it being done by the shibayama family masters. 

Earlier examples of shibayama work were more subtle in design. Works like this monju by would have small pieces of inlay for skin surfaces in ivory with the rest of the work done in Lacquer.

The late Edo period tastes of Japan were for softer design being highlighted with inlay work, but by the time of the Meiji restoration, shibayama was dubbed the “oriental mosaic art” amidst the many Japanese arts and crafts introduced at the Paris World Exposition in 1867, attracting the attention of those who visited the exposition. The more detailed and intricate the work the more desirable the work was found to be. 

Many Works by Shibayama Muneichi and Shibayama Muneaki attracted great attention at international expositions and exhibitions. It was greatly down to these masters that the name shibayama became widely known internationally.

Such was the desire for shibayama work that other artists using metalwork or other materials would have shibayama style panels integrated into their designs. Many have the artists signatures on the pieces and the shibayama artists signature on the inlay Work.

Like many of the Japanese crafts of the Meiji period, they were time-consuming and labour intensive. Many carvers would work on specific materials creating small pieces to designs they would have been given. It would have been the artist's job to create the design and have his workforce produce it at a quantity that would supply the demand. 

For most of the late Edo period into the Meiji period shibayama works were done in Tokyo but later moved to the port of Yokohama. Many bigger pieces such as this charger were made using larger pieces of semi-precious materials. 

By the 1900s the Japanese were supplying works of art at a rate that the west was unable to keep up with. The overproduction is believed to be one of the major contributing factors for the decline in the west for Japanese art. Quality had dropped dramatically to create as much as possible at a lower cost. 

By the early 20th century the desire for Japanese works of art had diminished, the oversupply of low-quality works and art and design tastes changing had put an end to the demand. The early works by the shibayama masters are still highly praised today loved by many that view and collect them.