Morikago or tray basket for fruit and seasonal leaves, in a shallow, circular bowl-form. Woven of split, smoked bamboo with sections of antique lacquered arrows and stained rattan. Signed on the reverse with an incised and gilt signature by the artist: Chikuunsai Kore wo Tsukuru or Made by Chikuunsai (Tanabe Chikuunsai II, 1910 – 2000). Early Showa era, circa 1937 – 1942.

With the tomobako or original box, inscribed on the exterior of the lid: En-shiki Koya-chiku-ami Morikago or Round Fruit Basket woven with Antique Bamboo Arrows; and on the reverse of the lid inscribed and signed: Tekisui Kyo, Chikuunsai Kore wo Tsukuru or At the Dripping Water Studio, Made by Chikuunsai, and sealed twice.

Born in Osaka, Tanabe Chikuunsai II studied basketry under his father, Chikuunsai I (1877 – 1937). In 1925, his father gave him the art name Shochikuunsai. In 1931, he was first accepted into the Teiten Imperial Art Exhibition. On the death of his father in 1937, he adopted the art name Chikuunsai II. In 1991, he passed the family title to his son, continuing to work as Itchikusai.

This unusual morikago dates from the period between 1937 when Chikuunsai II adopted the family title on his father’s death and the early years of the Pacific War. The use of antique arrows brought more than texture, color and a sense of age to a piece. Arrows brought martial associations, which after the war were avoided at any cost. Chikuunsai I and his son both wove flower baskets that incorporated arrows into their architecture, and at least one kikyoku or sencha cabinet as well. Most of those date from the 1920s.

Chikuunsai II adopts a novel circular form for this morikago, almost certainly made to suggest an archery target. Circle within circle within circle would obviously read this way to anyone familiar with traditional archery. The form might also suggest the gallant jingasa parade hats adopted by samurai during the Edo period. On the sloping borders of the bowl ride an array of antique arrow sections lacquered in gold, red and black. All point inwards.

Mat plaiting (gozame-ami) radiates out from the center. To create the second band, a gap opens in the plaiting filled only with the broad structural stays. As the face bevels upwards, the arrow overlays raise the weaving into higher relief and create the next concentric circle. Mid-way up the arrow sections, a wider band weaves in and out, holding each arrow. These bands stand out, brightly lacquered where they cross each arrow.

To increase the contrast and texture, a hokori-ire technique darkens the interstices in the weaving with dust or ash over thin lacquer (often referred to as tonoko powder, made from either ground stone or baked clay). This is particularly evident when viewing the reverse of the basket. Chikuunsai used clear lacquer to brighten the plaiting in limited areas: the rattan band at the base of the arrows, the wider band at their centers, and the small circle just below the rim. On the reverse, it appears that the lacquering was applied first, then the tonoko powder applied, with the dust differentially wiped away to leave gleaming areas of bamboo or rattan.

To form the heavy rim, a thick section of vine rattan was split lengthwise and then matched together. Unevenly lacquered red to suggest age and the wear of negoro lacquer, the rim sections complete the concentric circles and complement the arrow coloration. Alternating bands of simple wrapping (bo-maki) anchor the rim: one running from the center over the top half, then banding both top and bottom sections, then at the center dividing line alternating beads of two and then three between repetitions.

A high foot-ring of bamboo stripped of its satin skin, then lacquered, supports the basket. On its lower edge an overlay of hemispherical bamboo encircles the foot.

Within the foot-ring, a beveled, broad bamboo stay stretches from side to side. Brightly lacquered, it supports the signature. This Chikuunsai gilt, a very rare choice that not only complements the antique materials but testifies to how proud the artist was of this morikago. Two large spiral cross knots (jūji-uzumaki-musubi) ornament and anchor the signature plaque at top and bottom.