Yagisawa Keizō (Sōkan)
Hanging Flower Basket, 1930s
Bamboo
Size 8¾ x 4½ x 4 in. (22 x 11 x 10 cm)
T-5027
Further images
Nemagaridake bamboo, hōbichiku bamboo, rattan; compound asanoha hexagonal plaiting (base), compound yotsu-ami diagonal plaiting, ajiro-ami (twill plaiting), additional free-style elements, bending, wrapping; the back fitted with a hanging loop Signed...
Nemagaridake bamboo, hōbichiku bamboo, rattan; compound asanoha hexagonal plaiting (base), compound yotsu-ami diagonal plaiting, ajiro-ami (twill plaiting), additional free-style elements, bending, wrapping; the back fitted with a hanging loop
Signed underneath with incised characters: Sōkan
This rare early basket by Yagisawa Keizō is a good illustration of the pervasive influence of protean master Iizuka Rōkansai (1890–1958) in the early post-war years of Japanese bamboo art. As seen in two pieces—by Rōkansai and his eldest brother Iizuka Hōsai (1872–1934)—in our 2017 publication Masterpieces of Japanese Bamboo Art (nos. 16 and 24), the founding bamboo artists of the Iizuka lineage often combined plain nemagaridake, a variety of dwarf bamboo native to eastern Japan, with hōbichiku, the same bamboo taken from inside the roof of an old farmhouse after decades of exposure to smoke from the hearth. Here Yagisawa Keizō, still using his early sobriquet of Sōkan, with the kan taken from Rōkansai’s name in recognition of his extraordinary talent and application, follows the Iizuka style but adds a touch of informality and irregularity that lends this basket a less architectural, appealingly individual character.
Born in Ōtawara (Tochigi Prefecture), Yagisawa received his formal training under Suzuki Hōsai (1905–1982), a prominent figure in the third generation of the Iizuka lineage. Following World War II, he played a key role in revitalizing the craft by co-founding the Nasu Bamboo Craft Company, a collective dedicated to preserving and advancing bamboo artistry in Tochigi. In 1947, he embarked on a solo career, adopting the art-name Keizō in 1975. Yagisawa’s work was regularly exhibited, beginning with local and prefectural shows and eventually gaining recognition in Tokyo’s art circles. His many disciples include Katsuhiro Sōhō (1934–) and Fujinuma Noboru (1945–), both of whom went on to become Living National Treasures. Beyond Japan, Yagisawa was an active ambassador for bamboo art. He conducted workshops in Manila, sharing his expertise and fostering cross-cultural appreciation for the craft. His international outreach helped elevate bamboo from a regional tradition to a respected art form on the global stage.
Signed underneath with incised characters: Sōkan
This rare early basket by Yagisawa Keizō is a good illustration of the pervasive influence of protean master Iizuka Rōkansai (1890–1958) in the early post-war years of Japanese bamboo art. As seen in two pieces—by Rōkansai and his eldest brother Iizuka Hōsai (1872–1934)—in our 2017 publication Masterpieces of Japanese Bamboo Art (nos. 16 and 24), the founding bamboo artists of the Iizuka lineage often combined plain nemagaridake, a variety of dwarf bamboo native to eastern Japan, with hōbichiku, the same bamboo taken from inside the roof of an old farmhouse after decades of exposure to smoke from the hearth. Here Yagisawa Keizō, still using his early sobriquet of Sōkan, with the kan taken from Rōkansai’s name in recognition of his extraordinary talent and application, follows the Iizuka style but adds a touch of informality and irregularity that lends this basket a less architectural, appealingly individual character.
Born in Ōtawara (Tochigi Prefecture), Yagisawa received his formal training under Suzuki Hōsai (1905–1982), a prominent figure in the third generation of the Iizuka lineage. Following World War II, he played a key role in revitalizing the craft by co-founding the Nasu Bamboo Craft Company, a collective dedicated to preserving and advancing bamboo artistry in Tochigi. In 1947, he embarked on a solo career, adopting the art-name Keizō in 1975. Yagisawa’s work was regularly exhibited, beginning with local and prefectural shows and eventually gaining recognition in Tokyo’s art circles. His many disciples include Katsuhiro Sōhō (1934–) and Fujinuma Noboru (1945–), both of whom went on to become Living National Treasures. Beyond Japan, Yagisawa was an active ambassador for bamboo art. He conducted workshops in Manila, sharing his expertise and fostering cross-cultural appreciation for the craft. His international outreach helped elevate bamboo from a regional tradition to a respected art form on the global stage.
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