KOSUGE F UUNSA I KOGE T S U

My visit with Kosuge Fuunsai Kogetsu at his home outside the city of

Niigata was the most memorable first encounter I have ever had with

a bamboo artist.

When we met briefly at the opening of the Lloyd Cotsen “Bamboo

Masterworks” exhibition in Niigata, I did not realize Kosuge was still

alive, so it was quite a shock when he came up and introduced him-

self. He told me that he was thrilled that his work was on display

alongside vessels by his late esteemed father and brother. Since all of

the bamboo artists in the Kosuge family were represented in the exhi-

bition, I promised to get him a copy of the accompanying catalog. I

also asked if I could visit him on my next trip to the area.

Later that year, my colleague Koichi Okada and I were met at the

small train station by an exuberant Kosuge. We were ushered into his

workspace through an entryway that glistened with water from a fresh

cleaning. Mrs. Kosuge radiated excitement about our visit. The room

was cozy, containing a large brazier with a beautiful iron teakettle

quietly steaming. Placed before each of us was a tea sweet, set on

an elegant lacquered dish. Immediately I noticed that there was no

pick for eating it and assumed that Mrs. Kosuge was so excited that

she forgot to set the utensils.

Kosuge brought out his copy of the “Bamboo Masterworks” book,

and with tears in his eyes expressed his deep appreciation that he

and his family had been included. He explained that this was the

room where his father, Kosuge Chikudo, worked, and how his father

Susutake Kushime Hanging Flower Basket 2005, 5 x 31/2 x 91/2 inches

Cover: Shimmering of Heated Air 2006, 111/2 x 41/2 x 161/2 inches

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loved to receive visitors. In fact, he said, Chikudo organized his stu-

dio with the idea of creating a space that was not only efficient for

work but also for entertaining guests. To illustrate, he reached behind

his seat, opened a sliding door on a low cabinet, and pulled out a

gorgeous piece of very old susutake. He told us that this 200 year-old

stick of bamboo was from the Edo period. Then he drew out a knife

from a drawer, and as he talked about how his father had trained

him, began splitting the susutake. I was surprised that he would cut such

a precious piece of bamboo. By the time he finished describing his

decision to become an independent artist, he had created two extra-

ordinarily beautiful tea sweet picks and placed them on our lacquered

dishes.

Kosuge’s art is imbued with his love and respect for his father, one

of Japan’s master bamboo artists, and his commitment to furthering his

family’s legacy. His charm and enthusiasm have earned him a devo-

ted following of collectors in Japan that purchase all the work he can

produce. Thus, on this first visit, Kosuge had no work to give me to

present in Santa Fe and was reluctant to part with the few remaining

pieces from his early years exhibiting in juried shows. However my

patience with our developing relationship, along with the lure of a first

visit to America, has ultimately made this exhibition of beautiful vessels

and objects a reality.

– Robert T. Coffland

Midare-ami Flower Basket with Braided Bamboo Handle2006, 4 x 31/2 x 141/2 inches

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A R T I S T ’S S TAT EM EN T

I first met Mr. Robert Coffland three years ago, when the traveling

exhibition of “Bamboo Masterworks: Japanese Baskets from the Lloyd

Cotsen Collection” came to Niigata. I was thrilled to attend the open-

ing of the show and to see my baskets on display along with the work

of my father and brother. I have since had the opportunity to visit and

talk with Mr. Coffland and have learned, to my great delight, how

receptive Westerners are to Japanese bamboo art.

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When Mr. Coffland offered me a solo show at his gallery in Santa

Fe, New Mexico, I was quite surprised. My career as a bamboo artist

has spanned 50 years, during which time I have tried to develop the

skills my father taught me, but frankly the opportunity of traveling to

America and meeting collectors seemed like a dream.

The 18 pieces in this show include new work, as well as three bas-

kets I made in the 1970s when I was in my thirties. I primarily use three

techniques: hineri, or twisted bamboo; the pine -needle pattern called

matsuba-ami; and masame -wari, a method of preparing bamboo in

which lateral cuts are used to create narrow strips.

My art is inspired by the intrinsic beauty of my material and, more

broadly, by the inexplicable grandeur of the natural world. I thank

God for the gift of bamboo and for the creative talent I have been

given. In each of my pieces I try to reflect my deeply held spiritual feel-

ings and beliefs.

In Japan, bamboo is part of an ancient tradition. But this is not so

in America. I am therefore deeply gratified by Westerners’ apprecia-

tion for the art form and by their generous and insightful comments

about the work. I never imagined that my bamboo vessels would

transport me into a new world and introduce me to so many warm

and interested people.

– Kosuge Fuunsai Kogetsu

Shinano River 1970, 311/2 x 7 x 16 1/2 inches

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Tea Basket 2005, 81/2 x 6 1/2 x 6 inches (above)

Cylinder Shaped Flower Basket with Round Handles 2005, 7 x 4 x 71/2 inches (right)

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Cocoon 2005, 51/2 x 5 x181/2 inches (above)

Sacred Mountain 2005, 6 x 51/2 x131/2 inches (right)

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Circular Flower Basket 2006, 7 x 5 x 19 1/2 inches (above)

Turtle Shell Pattern Flower Basket 2006, 5 x 31/2 x 171/2 inches (left)

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Swan Lake 1971, 18 x18 x 17 inches (above)

Holy Light 1972, 71/2 x 41/2 x 20 inches (right)

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Komezutsu-dake Diamond Pattern Box 2004, 111/2 x 91/2 x 61/2 inches

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Calligraphy Set in Susutake Diamond Pattern Box 2004, 101/2 x 81/2 x 31/2 inches

KOSUGE FUUNSA I KOGE T SU

1932 Born in Nagaoka City, Niigata Prefecture1948 Studied under his father, Kosuge Chikudo1951 Admitted first time to Prefectural Art Exhibition1956 Winner of Minister of Industry and Commerce Prize at the 2nd Japan Flower

and Tea Craft Arts Exhibition1961 Admitted first time to Kofukai Exhibition1966 Admitted first time to Nitten1967 Admitted first time to Gendai Kogei Exhibition

1st Solo show (more than 20 thereafter)1970 Featured on BSN (Broadcasting System of Niigata) “Take ni Ikiru” (Live in Bamboo Art)1972 Niigata governor used his work as a gift to Emperor Showa1973 Admitted 1st time to Japan Craft Arts Exhibition (thereafter 3 times)1978 Became a full member of Japan Traditional Craft Arts Association, but decided to

leave the association1981 Judge at 10th Prefectural Art Exhibition1983 Featured on BSN program “Kokoni Hitoari Sakuhinari”1984 Featured on NT21 Broadcasting Program1986 Two Generations of Bamboo Art Exhibition1987 Winner of Niigata Daily News Prize at 16th Art Exhibition1989 Solo show “40 Years in Bamboo Art” at Niigata Isetan1991 Judge at 20th Prefectural Art Exhibition1992 Published “Bamboo Art of Kosuge Kogetsu”1994 Exhibited in “Art of Niigata” at Niigata Modern Arts Museum1997 Featured on Niigata NHK Broadcasting Program “Take o Ikasu Waza”2002 “2 Generations of Bamboo Art” at Gallery Yamauchi2004 Exhibited in “Bamboo Masterworks”, Japan

Exhibited in the Hand Workshop Art Center, Richmond, Virginia2005 “Weavers of Wonder” Show at the Naples Museum, Naples, Florida2006 Exhibited in “Hin: The Quiet Beauty of Japanese Bamboo Art”, Faulconer Gallery,

Grinnell, Iowa and Chicago Cultural Center, ChicagoExhibited in “Beyond Basketry: Japanese Bamboo Art”, Museum of Fine Arts, Boston

Since 2004, his artwork has been exhibited at art fairs in New York, Chicago,San Francisco, and Palm Beach.

MUSEUM COLLECT IONS:Asian Art Museum of San Francisco

Turtle Shell Shaped Pine Needle Flower Basket with Oval Handles2006,101/2 x 91/2 x 20 inches (right)

Back Cover: Charcoal Basket 2005, 6 x 51/2 x101/2 inches

Photography by Gary Mankus

1601B Paseo de PeraltaSanta Fe, New Mexico 87501505.984.1387 • www.taigallery.com

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