Maeda Chikubōsai II
Flower Basket with Openwork Design, 1980s
Bamboo and rattan
Size 10½ x 7 x 5 in. (26.5 x 18 x 12.5 cm)
T-5037
Of shiratake (leached or whitened bamboo) and rattan, the base formed from parallel strips with nawame twining and knotting, the sides also executed in senjōgumi (parallel-line construction) secured by twining,...
Of shiratake (leached or whitened bamboo) and rattan, the base formed from parallel strips with nawame twining and knotting, the sides also executed in senjōgumi (parallel-line construction) secured by twining, gozame-ami (mat plaiting), and other techniques; in the top half of each side an extra layer of verticals crossed and gathered; the bent bamboo rim secured with multiple knots; complete with a cylindrical black-lacquered bamboo otoshi (water container)
Signed underneath with incised characters on a strip of black bamboo: Chikubōsai tsukuru (Made by Chikubōsai)
Comes with the original fitted wood tomobako storage box inscribed outside: Sukashi-mon hanakago (Flower Basket with Openwork Design); signed inside Chikubōsai tsukuru (Made by Chikubōsai) and sealed Chikubōsai; accompanied by a presentation printed biography
Born in Sakai City, Osaka, Maeda Chikubōsai II was immersed in the world of bamboo art from an early age, studying first under his father, the renowned bamboo artist Chikubōsai I, then from 1936 deepening his training under Yamamoto Chikuryōsai I, another prominent figure in the field. By 1941, he had established himself as an independent artist, developing a distinctive style that blended classical techniques with a refined modernist sensibility. In 1950, he formally succeeded to the name Chikubōsai.
Baskets from Maeda Chikubōsai II’s mature period are admired for their complex, layered surfaces, as seen in the double-walled construction of this particularly ambitious exhibition piece, where some of the vertical elements are gathered and crossed to form intriguing patterns that, when photographed, create a moiré effect. Also of note is the lower register where a range of different plaiting techniques combine to create an intricate counterpoint to the simpler parallel-line construction above.
The accompanying printed biography, likely prepared for an exhibition, allows us to date this basket with some precision to the years 1982–1995. It highlights key milestones in Chikubōsai’s career, including his transition from the Nitten national salon to the Japan Traditional Art Craft exhibitions in 1959. It also notes his 1982 commendation from the Governor of his native Osaka Prefecture but stops short of his 1995 designation as a Holder of an Important Intangible Cultural Property—Japan’s prestigious “Living National Treasure” title. Chikubōsai was only the third bamboo artist to receive this high honor.
Signed underneath with incised characters on a strip of black bamboo: Chikubōsai tsukuru (Made by Chikubōsai)
Comes with the original fitted wood tomobako storage box inscribed outside: Sukashi-mon hanakago (Flower Basket with Openwork Design); signed inside Chikubōsai tsukuru (Made by Chikubōsai) and sealed Chikubōsai; accompanied by a presentation printed biography
Born in Sakai City, Osaka, Maeda Chikubōsai II was immersed in the world of bamboo art from an early age, studying first under his father, the renowned bamboo artist Chikubōsai I, then from 1936 deepening his training under Yamamoto Chikuryōsai I, another prominent figure in the field. By 1941, he had established himself as an independent artist, developing a distinctive style that blended classical techniques with a refined modernist sensibility. In 1950, he formally succeeded to the name Chikubōsai.
Baskets from Maeda Chikubōsai II’s mature period are admired for their complex, layered surfaces, as seen in the double-walled construction of this particularly ambitious exhibition piece, where some of the vertical elements are gathered and crossed to form intriguing patterns that, when photographed, create a moiré effect. Also of note is the lower register where a range of different plaiting techniques combine to create an intricate counterpoint to the simpler parallel-line construction above.
The accompanying printed biography, likely prepared for an exhibition, allows us to date this basket with some precision to the years 1982–1995. It highlights key milestones in Chikubōsai’s career, including his transition from the Nitten national salon to the Japan Traditional Art Craft exhibitions in 1959. It also notes his 1982 commendation from the Governor of his native Osaka Prefecture but stops short of his 1995 designation as a Holder of an Important Intangible Cultural Property—Japan’s prestigious “Living National Treasure” title. Chikubōsai was only the third bamboo artist to receive this high honor.