A S E N S E I A N D H I S S T U D E N T S :

B A B A S H O D O , F U J I T S U K A S H O S E IA N D YA K O H O D O

BABA SHODO (1925–1996), a pioneer of sculptural bamboo art,

remains unknown outside Japan. I also knew nothing about Mr. Baba

until January of 2001 when Yako Hodo took Robert Coffland and me

to meet Baba Kazuharu, the artist’s son. As soon as we entered Baba

Kazuharu’s home, we encountered Baba’s eight-foot-tall blazing fire

sculpture. I was impressed by its size and moved by its visual power.

A portrait of Baba hanging in his son’s living room showed the artist

stitching his work while holding a fine, long strip of bamboo between

his teeth, his facial expression revealing the confidence and determi-

nation of a samurai warrior.

Baba was the second son of a farming family living near the city

of Niigata. He served in the Imperial Navy during World War II and

returned home disabled. He studied basket making under Kosuge

Shochikudo, Nakajima Hoso, and Okada Setsuya before appren-

ticing with Hayashi Shogetsusai. His first important sculptural work

was made for a local art exhibition in 1956 (pages 10 –11), the

same year Shono Shounsai made his famous Doto (Surging Waves).

Beginning in 1961, Baba showed many sculptural works in Nitten

exhibitions. By the late 1980s, he was semi-retired and teaching hob-

byists. He resumed his artistic career in 1993 and this time began

exhibiting in the Traditional Craft Arts Association.

Yako Hodo and Fujitsuka Shosei, Baba’s two most important

students, were inspired by Baba’s free spirit and encouraging nature.

When they talk about Baba, it is with reverence and warmth.

Fujitsuka Shosei Proportion, 1988, 7 x 5 1/2 x 141/2 inches (left)

Cover: Baba Shodo Mountain, 1993, 10 1/2 x 81/4 x 141/2 inches

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“I had four masters during the 15 years I trained in my art, but

Baba was the strongest influence,” Yako says. Baba always respect-

ed his students’ personal visions. When Yako encountered technical

problems making exhibition pieces, he felt free to consult his teacher

who always urged him to follow his instincts. “Make your own art,”

Baba often said. “Don’t be influenced by what other people say.”

Baba limited his instruction to technical and practical advice. He

might tell a student to enlarge an area so he could fit his hand inside

an artwork and gain more control over the form. But he never told

a student what form to make.

“Everything I know and do in bamboo art, I learned from my

master, Baba,” says Fujitsuka. Even though Fujitsuka had no previous

experience in bamboo art, Baba encouraged him to make his first

exhibition piece just six months after he began his studies. Fujitsuka

recalls Baba saying, “Learning many techniques can limit your imagi-

nation and creativity. You know nothing of techniques now so you

can be very creative.” Fujitsuka made a parallel-construction design,

heeding his teacher’s advice to look to the design itself for guidance.

His very first piece was admitted to the Kanagawa Prefectural Art

Exhibition. “Be proud,” Baba told him, “you are the only man I know

who has been admitted to a prefectural exhibition only six months

after beginning to work with bamboo.”

In 2006, Baba’s students suggested an exhibition pairing their art

with their teacher’s. Baba Kazuharu generously agreed to part with

some of his father’s most important works from the 1950s through

the 1990s. Everyone at TAI Gallery is deeply touched that he has

entrusted us with this historically significant art.

Koichiro Okada

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Yako Hodo Spring Light, 2007, 12 x 31/2 x 16 inches

A R T I S T S ’ S TAT E M E N T S

Master Baba Shodo transformed me into a professional artist. “The

clock won’t lie to you,” he told me when I was in training. “If I can

make ten lampshades a day, so can you.” He didn’t consider me a

professional basket maker until I matched his speed. Toward the end

of my training, he gave me a great gift: he paid my salary while I cre-

ated a piece to submit to the Nitten. That piece was accepted. Back

then, the title “Nitten Artist” was a sign of professionalism, which helped

me to make a living after becoming an independent artist. Both Fujit-

suka Shosei and I feel that, by exhibiting our work with our teacher’s

at TAI Gallery, we are bringing him some of the honor he deserves.

Yako Hodo

Master Baba’s art and personal integrity inspired me so deeply. I

believe I wouldn’t have become an artist if I had never met him. He

passed away ten years ago, and even in Japan, his art has not

gained the recognition it deserves. He returned from World War I I

without one of his legs, and that is in part why he studied bamboo

techniques. I never heard him speak ill of Americans or complain

about his war-time experiences. I am sure he would be pleased that

his art is part of a dialogue with American audiences. For me, this

show at TAI Gallery represents peaceful reconciliation.

Fujitsuka Shosei

Baba Shodo Fire, 1977, 13 x 12 x 461/2 inches

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Baba Shodo Sukashi Ajiro-ami Offering Tray, 1992, 20 x 151/4 x 31/4 inches (below)

Baba Shodo Infinity, 1975, 16 x 42 inches with stand (right)

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Baba Shodo Susutake Offering Tray, 1956, 36 x 26 x 91/2 inches

Fujitsuka Shosei Bamboo Boat, 1997, 19 3/4 x 11 x 2 3/4 inches

Fujitsuka Shosei Big Wave, 2008, 20 x 10 x 251/2 inches (right)

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Fujitsuka Shosei City, 1994, 10 1/4 x 41/4 x 15 inches

Fujitsuka Shosei Spiral Hexagonal Flower Basket, 2007, 9 x 15 inches (left)

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Yako Hodo Sound of the Tide, 1980, 271/2 x 271/2 x 231/2 inches

Yako Hodo Stream of Sunlight in the Forest, 1983, 20 x 91/2 x 23 inches (right)

Yako Hodo Left by the Waves, 2007, 18 x 12 x 16 inches

Yako Hodo Warmth of Spring, 2007, 14 x 41/2 x 9 inches (right)

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