Ten Thousand Flowers

TEN THOUSAND
FLOWERS

Higashi Kiyokazu
Meditation, 2014, 10.25 x 15 x 7 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 (1192-
1333), 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
Ebana Misaki
Luminous, 2018, 14.5 x 9.5 x 7.5 in
Front Cover: Yufu Shohaku
Barbarian Sitting (Cross-legged), 2019, 18.25 x 16.75 x 16.25 in

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

Nakatomi Hajime
Frill III-03, 2019, 15 x 19.75 x 13.75 in

The question is, when an artist creates a work of
art, does he or she imagine what it would look like
with flowers in it? In my case, I have not formally
learned tea ceremony nor flower arrangement.
I imagine the finished piece, but I have never
imagined 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.
"
I have often been told by flower arrangers that
works of art that are created to display at art
competitions are too assertive and difficult in
which to arrange flowers. It is said that a basket
with a rough weave, a loosely woven basket, or a
basket with some parts missing is more suitable
for flowers. Therefore, I imagine it would be
challenging to match flowers with the unique
works of each artist that TAI Modern represents. In
this sense, I am looking forward to this exhibition
in how they take that challenge of balancing
artwork with accompanying flowers.”
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

Kojiro Yoshiaki
Structural Blue (15.7), 2018, 4 x 5.5 x 5.5 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.
Fujitsuka Shosei
Changing Color Morikago, 2015, 3.75 x 16 x 16 in

Maeda Chikubosai II
Jakago (Gabion-style Flower Basket)
Showa Period, 7.25 x 20.5 x 8 in

"
There is a difference between creating a work that
conveys your thoughts and creating a flower basket
that you want someone to use. If I think about it, I
have a different mindset depending on which type of
work I am making.
When I make a bamboo art piece, I think of a form
that has complete beauty without the presence of
flowers. On the other hand, when I make a flower
basket for everyday use, the flowers are the main
attraction, so I try to create natural shapes and colors
that accentuate the flowers.
I also try to imagine what kind of flower would look best
in the basket. If the basket is meant for a spreading
flower, I weave horizontal lines or I widen the opening
using horizontal twill plaiting, twining, etc. If it is for
a flower that stretches vertically, the weave will be
characterized by vertical lines or a narrower mouth
using vertical twill plaiting, line construction, etc.
I want to make flower baskets that blend with people's
daily lives, that look like they have been there for a
long time, that look like the baskets themselves have
become part of the space.
Honda Seikai
Stepping Up, 2018, 18.25 x 13.25 x 5 in

Kajiwara Koho
Three Color Flower Basket, 2015, 8 x 14 x 14 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.
Kosuge Kogetsu
Hexagonal Plaited Flower Vase with a Handle
1960s to 1980s, 12.75 x 5.5 x 4 in

Ueno Masao
Twisted Basket, 2016, 7.5 x 12 x 10.5 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.
Shono Shounsai
Mugwort Basket (Cocoon), early 1960s, 8.5 x 4.75 x 4.75 in

Wada Waichisai II
Ryurikyo Style Flower Basket, late 1920s-1933, 13.75 x 12 x 11.25 in

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

Monden Yuichi
Fallen Pine Needle Basket, 2011, 19.5 x 14 x 9 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.
Tanaka Kyokusho
Pine Needle Pattern Flower Basket, 2010, 19.5 x 6.5 x 6.5 in

Yako Hodo
Early Spring, 2012, 2.25 x 13.5 x 13.5 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.”
Fujinuma Noboru
Lacquered Bamboo Cylinder, 2010, 20.75 x 5 x 3.75 in

Abe Motoshi
Ocean, 1987, 5.5 x 15.5 x 13.5 in

Back Cover: Kibe Seiho
Ten Thousand Flowers, 2019, 14 x 11.25 x 11.25 in

Yufu Shohaku
Barbarian Sitting (Cross-legged)
2019
madake, moso branches, rattan
18.25 x 16.75 x 16.25 in
SOLD
Higashi Kiyokazu
Meditation, 2014
madake bamboo, rattan
10.25 x 15 x 7 in
INQUIRE
Ebana Misaki
Luminous, 2018
madake bamboo, rattan
14.5 x 9.5 x 7.5 in
INQUIRE
Isohi Setsuko
Waxing Moon, 2017
madake bamboo, rattan
18 x 13 x 11 in
INQUIRE

Nakatomi Hajime
Frill III-03, 2019
madake bamboo, rattan
15 x 19.75 x 13.75 in
INQUIRE
Tanioka Shigeo
Cocoon, 2013
arrow & hobi bamboo, rattan
7.75 x 11 x 5.5 in
INQUIRE
Kojiro Yoshiaki
Structural Blue (15.6), 2018
kiln-cast & slumped foaming
glass
4.5 x 6 x 6 in
INQUIRE
Structural Blue (15.7), 2018
kiln-cast & slumped foaming
glass
4 x 5.5 x 5.5 in.
SOLD
Fujitsuka Shosei
Changing Color Morikago, 2015
madake bamboo, rattan, silver
plate
3.75 x 16 x 16 in
INQUIRE

Maeda Chikubosai II
Jakago (Gabion-style Flower
Basket), Showa Period
madake & nemagari bamboo,
rattan
7.25 x 20.5 x 8 in
SOLD
Honda Seikai
Stepping Up, 2018
madake bamboo, rattan
18.25 x 13.25 x 5 in
INQUIRE
Kajiwara Koho
Three Color Flower Basket, 2015
madake bamboo, rattan
8 x 14 x 14 in
INQUIRE
Kosuge Kogetsu
Hexagonal Plaited Flower Vase
with a Handle, 1960s to 1980s
bamboo
12.75 x 5.5 x 4 in
INQUIRE

Ueno Masao
Twisted Basket, 2016
madake bamboo, rattan, gold leaf
7.5 x 12 x 10.5 in
SOLD
Shono Shounsai
Mugwort Basket (Cocoon)
early 1960S
black bamboo
8.5 x 4.75 x 4.75 in
SOLD
Wada Waichisai II
Ryurikyo Style Flower Basket
late 1920s-1933
hobichiku bamboo, rattan
13.75 x 12 x 11.25 in
SOLD
Katsushiro Soho
Sunlight Streaming Through
Trees, 2006
shinodake bamboo
15.5 x 15 x 16 in
INQUIRE

Monden Yuichi
Fallen Pine Needle Basket, 2011
madake bamboo, rattan
19.5 x 14 x 9 in
INQUIRE
Tanaka Kyokusho
Pine Needle Pattern Flower Basket
2010
madake bamboo, rattan
19.5 x 6.5 x 6.5 in
INQUIRE
Yako Hodo
Early Spring, 2012
susutake bamboo, rattan
2.25 x 13.5 x 13.5 in
INQUIRE

Fujinuma Noboru
Lacquered Bamboo Cylinder
2010
moso bamboo, lacquer
20.75 x 5 x 3.75 in
INQUIRE
Abe Motoshi
Ocean, 1987
madake bamboo, rattan
5.5 x 15.5 x 13.5 in
INQUIRE
Kibe Seiho
Ten Thousand Flowers, 2019
madake bamboo, rattan
14 x 11.25 x 11.25 in
SOLD

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Santa Fe, NM 87501
505 984 1387
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