In Japan, bamboo is a natural resource that is quite abundant, but it is also a popular artistic medium. Bamboo as a sculptural art form requires technical skill that takes years of meticulous practice. This art form has been around for centuries, beginning as functional objects for religious and cultural purposes, and now as a mastered art form with less than 100 professional artists in Japan. This exhibit brings a stunning selection of work from 17 of these Japanese artists showcasing their innovative talent in shaping bamboo.
Bamboo is a material that is highly influential throughout daily life in Japan. After originating in China, bamboo baskets were made in Japan beginning in the 8th century when they were commonly used for Buddhist rituals. And by the 15th and 16th centuries, bamboo was also utilized in tea ceremonies or in ikebana, the art of flower arrangement. Traditional Japanese tea ceremonies would use bamboo in the form of a whisk to whip green tea powder in bowls and bamboo baskets would be used for displaying blossoms as offerings to deities. Bamboo is also a prevalent material today in products such as furniture, rope, fencing, utensils, gardening tools, fishing rods, and musical instruments. But now, thanks to the skillful hands of master artists, bamboo has transformed from a simple grass to a sculptural art form due to its strength and flexibility.
Bamboo is a challenging natural resource to work with as an artistic medium. The artists learn their skills by apprenticing with senior artists through many years of practice to master the art form. The process includes harvesting the bamboo and then processing and manipulating it. Some of the most elaborate bamboo art pieces take about three months or up to a year to complete. Choosing the appropriate bamboo species is also essential to creating the art. In Asia, there are over 1,400 varieties of bamboo, and 600 of them grow in Japan. The bamboo artists only use about a dozen different types, and the ones used in the exhibition are: hobichiku(smoked bamboo), koyachiku (heavy stalk bamboo), kurochiku (black bamboo), madake (Japanese timber bamboo), men’yadake (soft, pliable bamboo), nemagaridake (dwarf bamboo), torachiku (tiger bamboo), and yadake (arrow bamboo). These bamboo species are chosen for their color, pliability, density, age, or thickness depending on which style they are looking for. To finish the bamboo art piece, sometimes the artists smoke, leach, or dye the bamboo. Artists most commonly apply lacquer as a protective coating to prevent damage or strengthen the piece.
Since 1955, the Japanese Agency for Cultural Affairs has been certifying individuals or groups as Preservers of Important Intangible Cultural Properties. This system was established by the Japanese government after World War II so national traditions could be preserved. These recipients of the title Preservers of Important Intangible Cultural Properties are also known as “Living National Treasures.” Those selected become a cultural ambassador in an area of highly valued Japanese history. Only six bamboo artists were selected for the honor of “Living National Treasure” over the past 45 years, and two of them currently living are featured in Modern Twist. Katushriro Soho was honored in 2005, and Fujinuma Noboru was the most recent in 2012. Noboru displays his level of perfection with his two pieces exhibited in Modern Twist. His bamboo art piece titled “Spring Tide” shows an example of dwarf bamboo and its flexibility bent into a basket form. The basket was designed so that a water container could be placed inside and used for ikebana. The twill technique used to bundle the bamboo and the lacquer finish also give the basket its sturdy appearance.
Come and see the intricate and perfected art form that the master bamboo artists created to transform the simple blades of grass into artistic ingenuity.
Modern Twistis on view now through January 3, 2016.
Modern Twist was curated by Dr. Andreas Marks, Minneapolis Institute of Arts, Collection of the Clark Center, and tour organized by International Arts & Artists, Washington, DC. The exhibition was generously supported by the E. Rhodes & Leona B. Carpenter Foundation. The catalogue was supported by the Nomura Foundation, Japan Foundation, Los Angeles, Eric and Karen Ende, Alexandra and Dennis Lenehan, Gilda and Henry Buchbinder, and the Snider Family Fund.
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