TEN THOUSAND FLOWERS

Ebana Misaki

Luminous, 2018, 14.5 x 9.5 x 7.5 in

TEN THOUSAND FLOWERS

MARCH 11 - 31, 2021

This exhibition pairs works of Japanese bamboo art with flowers in a nod to the longstanding relationship between the two.

The association between flowers and bamboo baskets began in the 6th century when Buddhism was introduced to Japan from China. It was customary to place offerings of flower petals in shallow bamboo trays before an image of the Buddha. The ritual soon expanded to include simple, symbolic arrangements of stemmed flowers alongside the original offering of petals. Over time, aristocratic Buddhist families began to practice the flower offering ceremony at private altars. By the early Kamakura period (11921333), the offering or presentation of flowers had begun to spread outside of a purely religious context. Flower arrangements became more ornamental and relocated to living quarters and formal reception rooms where they were featured as important design elements. In the 15th century, the first school of ikebana was founded, and the arrangement of flowers emerged as an art form in its own right. Baskets made from bamboo became a popular choice of vessel for ikebana arrangements.

Early masters created baskets with the assumption that they would most often be displayed with flowers. Today, when a bamboo artist creates a flower basket, he or she does not necessarily expect that it will be used to hold flowers. However, the importance of functionality and relevance

of ikebana to Japanese bamboo art is a matter of active debate, and each individual artist has a different stance.

“For me, baskets and flowers are one and the same,” Yufu Shohaku insists. “Japanese bamboo art must also have functionality. Beauty and functionality are the core of this art form.”

“In my case, I have not formally learned tea ceremony or ikebana,” Tanioka Shigeo explains. “When I imagine the finished piece, I never imagine it with flowers. I have always thought that it is up to the viewer to decide whether they want to arrange the flowers in it or enjoy the work by itself.”

Says artist Ishoi Setsuko, “I create art for the purpose of visual appreciation. However, when I plan to make a work in the form of a flower basket, I think about how I would put flowers in the basket when it is finished. When a single flower or when many flowers are placed in a basket, the work shows a different expression. Since flowers are alive, I feel that they change not only the atmosphere of the piece itself, but also the atmosphere of the place.”

The works of bamboo art in our gallery do not need a flower arrangement to complete them. I certainly don’t want to trivialize or distract from a work of art by adding flowers. Nevertheless, pairing flowers with bamboo baskets still feels very special to me. It reminds me of the historical roots of bamboo art and how it has changed over the course of two centuries. I have also found that putting flowers in a basket forces me to redirect my attention from the actual form of the basket to the shape and potential of the space it creates. For me, it is another way of learning about this multifaceted art form.

Margo Thoma

Isohi Setsuko

Waxing Moon, 2017, 18 x 13 x 11 in

Tanioka Shigeo

Cocoon, 2013, 7.75 x 11 x 5.5 in

Kojiro Yoshiaki

Structural Blue (15.6), 2018, 4.5 x 6 x 6 in

Fujitsuka Shosei

Changing Color Morikago, 2015, 3.75 x 16 x 16 in

Fujituka Shosei’s art pushes against the boundaries of tradition. He creates abstract sculptures as well as functional objects like trays, boxes, and flower baskets. Many works can be both or either depending on how they are presented.

His use of color is daring; he frequently dyes his bamboo vibrant orange, purple, or green. The color of Changing Color Morikago shifts from black to purple due to the artist's meticulous triangle-cut, doublecolored bamboo strips. Fujitsuka added silver leaf in between the layers of the tray, giving it a metallic look.

Some conservative judges may not appreciate what Fujitsuka does, but they have not able to reject his work because of his masterful technique and his savvy mixing of tradition with modernity. In 2012, the Japanese government awarded Fujitsuka the Purple Ribbon for lifetime achievement in the arts.

Honda Seikai

Stepping Up, 2018, 18.25 x 13.25 x 5 in

Kosuge Kogetsu

Hexagonal Plaited Flower Vase with a Handle 1960s to 1980s, 12.75 x 5.5 x 4 in

Kosuge Kogetsu (1932-2016) was the son of Kosuge Chikudo, who founded the Sado Island’s modern artistic bamboo basket tradition. Kogetsu learned the craft in his youth, and by the 1960s, his elegantly modern baskets were being included in the prestigious National Fine Art Exhibitions. Over the years, as his knowledge of both Chanoyu and Sencha tea ceremonies deepened, his interest shifted to more traditional forms. He often used susutake, centuries old smoked bamboo, of the highest quality his Kyoto supplier could find. This small informal basket demonstrates the pure beauty of the smoked bamboo and the artist’s sophisticated taste.

Shono Shounsai

Mugwort Basket (Cocoon), early 1960s, 8.5 x 4.75 x 4.75 in

Shono Shounsai (1904-1974) was the undisputed champion of modern bamboo art. Many contemporary bamboo artists, including a current Living National Treasure of Japan, decided to pursue the art form because of him. There were three distinct phases of Shounsai’s career, his early traditional work, his groundbreaking sculptural creations, and his final Zen period. Mugwort Basket is from this third phase. Constructed solely from tiger bamboo with interesting visual patterns, it is small and deceptively simple, yet viewers can feel the intense energy the artist infuses into the basket.

This work came directly from the Shono family collection.

Katsushiro Soho

Sunlight Streaming Through Trees, 2006 15.5 x 15 x 16 in

Tanaka Kyokusho

Pine Needle Pattern Flower Basket, 2010, 19.5 x 6.5 x 6.5 in

Tokyo-based Tanaka Kyokusho is one of the most highly esteemed traditional bamboo artists working today. This elegant upright flower basket was created with an exquisite pine needle pattern. Sappanwood orange dye complements Tanaka’s lustrous signature black. Born into a family that had been making baskets for over 100 years, Tanaka learned the family techniques and traditions before moving to the City of Beppu to further hone his skills. He is a recipient of the Purple Ribbon by the Japanese Congress for lifetime achievement in the arts.

Fujinuma Noboru

Lacquered Bamboo Cylinder, 2010, 20.75 x 5 x 3.75 in

A Living National Treasure of Japan, Fujinuma Noboru elevates the otoshi, a water holder placed inside of a basket and typically made from a cylinder of cut bamboo, into an art object. After carefully studying the bamboo culm, he cuts and carves it into a shape that highlights the qualities of its natural form. Then, in an involved process that takes months, Fujinuma applies up to 120 separate coats of urushi lacquer in vibrant colors. The almost psychedelic pattern is created when he sands and polishes the surface to reveal layers of color hidden underneath.

“When I design a piece of art, I think about how I will arrange the flowers. The Japanese culture of tea ceremony, which I learned when I was studying to become an artist, gave me guidelines.

“A Japanese tokonoma, or alcove, is used to entertain guests. In this space, there are hanging scrolls and ikebana (flower arrangements). This tokonoma culture enriches our lives in Japan.

“Perhaps Americans may adopt this custom when they invite guests to their homes, putting flowers of their choice in bamboo art pieces, let's say in the center of a table. I think that would create a wonderful atmosphere at any event.”

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