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H. Tokutomi

#1 von Arno , 04.10.2009 22:13

Ohne HP, deshalb sei hierhin verwiesen: http://pipedia.org/index.php?title=Tokutomi,_Hiroyuki


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RE: H. Tokutomi

#2 von Arno , 04.10.2009 22:17

Mit freundlicher Genehmigung von http://www.tecon-gmbh.de
Grading: 2 Snail


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RE: H. Tokutomi

#3 von Arno , 10.02.2010 17:25

Bezugsquelle: http://www.pipes.su

Hiroyuki Tokutomi Blowfish Cavalier


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RE: H. Tokutomi

#4 von Arno , 10.02.2010 17:31

Bezugsquelle: http://www.pipes.su

Hiroyuki Tokutomi: Volcano (Three Snail)


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RE: H. Tokutomi

#5 von Arno , 10.02.2010 17:36

Bezugsquelle: http://www.pipes.su

Hiroyuki Tokutomi Sandblast Blowfish with Bamboo (One Snail)


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RE: H. Tokutomi

#6 von Arno , 10.02.2010 17:40

Bezugsquelle: http://www.pipes.su

Hiroyuki Tokutomi Smooth Blowfish (One Snail)


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RE: H. Tokutomi

#7 von Arno , 10.02.2010 17:44

Bezugsquelle: http://www.pipes.su

Hiroyuki Tokutomi Tomato with Bamboo (Three Snail)


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RE: H. Tokutomi

#8 von Arno , 28.02.2010 22:20

Bezugsquelle: http://www.smokingpipes.com/

Zitat:
"If a new student of Tokutomi's art needed an example of the dauntingly broad Anima that the master can create within one general oeuvre, one of the best shapes I could point him to would be his tulip/vase sitters. I have seen them imbued with a great deal of the Bo Nordh Ramses spirit, I have seen them as young bonsai plantings, being "trained" by a tenba rooted into the ground, I have even seen them as a kana (a hot water urn that is used in tea ceremonies), posed with with an heirloom katana as a background. Now I have encountered one that is...(dare I say it?), compact and downright adorable! Much of the compact is created simply by having the shank and bowl as near equals in compositional impact. In addition, this sitter makes an exceptional use of familiar geometric forms; the near perfect ellipses of the shank, juxtaposed against the near perfect circle of the rim. I need to emphasize that the use of a couple of symmetrical geometric shapes does not detract a whit from Tokutomi's legendary sense of the organic. Quite the contrary, the regularity of the circle and the ellipsis serve to emphasize the disparity of lean, an aspect that is simply part of the tao of nature. As to the "adorable"? You really have to hold it to believe it.
--Bear Graves"



Measurements & Other Details

Length: 3.43 in./87.12 mm. Weight: 2.30 oz./65.20 g.
Bowl Height: 2.38 in./60.45 mm. Chamber Depth: 1.67 in./42.42 mm.
Chamber Diameter: .75 in./19.05 mm. Outside Diameter: 1.80 in./45.72 mm.
Stem Material: Vulcanite Filter: None
Shape: Freehand Finish: Smooth
Material: Briar Country: Japan


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RE: H. Tokutomi

#9 von Arno , 28.02.2010 22:23

Bezugsquelle: http://www.smokingpipes.com/

Freehand Dublin Sitter

Zitat:
"With this comforting composition, Hiroyuki Tokutomi moves "Back to the Future" by creating a freehand dublin sitter that could have been plucked from his body of work three years ago. The rim features a poignant use of plateau and holds a fair degree of symmetry, until the drop into implied space on the right. That drop pulls the eye onto an abbreviated panel and, from there, a heavenly straight grain appears to the eyes. Tokutomi balances the fore-to-aft oval of the rim with a slightly oblique, side-to-side oval of the mount, and again plateau is repeated. Pure, classic, "Toku".
--Bear Graves"



Measurements & Other Details

Length: 6.10 in./154.94 mm. Weight: 1.60 oz./45.36 g.
Bowl Height: 2.10 in./53.34 mm. Chamber Depth: 1.40 in./35.56 mm.
Chamber Diameter: .73 in./18.54 mm. Outside Diameter: 1.47 in./37.34 mm.
Stem Material: Vulcanite Filter: None
Shape: Bent Dublin Finish: Smooth
Material: Briar Country: Japan


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RE: H. Tokutomi

#10 von Arno , 28.02.2010 22:26

Bezugsquelle: http://www.smokingpipes.com/

Zitat:
"One doesn't see a ton of this shape from Hiroyuki Tokutomi but, when he does one, they are unlike anything else. The bowl is a superbly shaped ball, with just enough reduction at the heel to give the body a hint of acorn. The body has a smart, subtle forward cant, and is balanced to perfection by a wide, flaring oval shank with tear drop mount. Very cool, indeed.
--Bear Graves"



Measurements & Other Details

Length: 5.56 in./141.22 mm. Weight: 1.76 oz./49.90 g.
Bowl Height: 1.73 in./43.94 mm. Chamber Depth: 1.24 in./31.50 mm.
Chamber Diameter: .71 in./18.03 mm. Outside Diameter: 1.65 in./41.91 mm.
Stem Material: Vulcanite Filter: None
Shape: Freehand Finish: Smooth
Material: Briar Country: Japan


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RE: H. Tokutomi

#11 von Arno , 28.02.2010 22:28

Bezugsquelle: http://www.smokingpipes.com/

Zitat:
"When describing a composition which cohesively balances many sources of inspiration, there are many tortured phrases which can be trotted out; "Walks the tight rope", "Successfully navigates the fine line", none of which would be apropos to this piece because of the sense of the precarious those phrases suggest. At first glance, this pipe amazes with a sense of cohesion and unity, of a solidity of execution that requires neither jumps of logic nor change-ups in underlying aesthetic value to justify its "being".
To fully appreciate this pipe it helps to look at its antecedents and follow the natural progression to this apotheosis of Toku-san's present work. To get a complete picture, one would have to travel back to Tokutomi's study under Danish Legend Sixten Ivarsson in 1974. But, for the sake of brevity and to reduce your urge to shoot the describer, we can make due with a glance from early 2003 forward.

This blowfish was created in early 2003, but is stylistically similar to the blowfish he was making previously. Toku-san's teacher, Sixten Ivarsson, was always insistent that the bisecting line be straight and on a single axis through a blowfish and on this matter Toku, with this pipe, adhered. From there, Tokutomi added subtle touches, such as having the large convex face of birdseye become concave upon approach to the main bisecting line, and carrying all of the lines of the bowl through the shank. It's important that we consider the artistic underpinnings of Sixten's requirement. The shape is fundamentally asymmetrical. Within the Western tradition, even with Modernists such as Sixten, it is important that asymmetry be grounded by some symmetry, lest the composition lack coherence.

This style of blowfish had genesis in August of 2003, and represents a striking departure from the preceding aesthetic. Tokutomi-san had a vision that asymmetry need not be anchored to the ridgidly symmetrical in order to have cohesion. Compositional chaos could be avoided and harmony achieved through the use of opposing forms, repetition of shapes, and inspired use of implied space. Strange that something as simple as allowing the shank of a fugu to help mimic the arc of a blowfish about to strike, and visually compensating with other compositional aspects (offsetting the curve of the shank with a higher oppositional bias on the rim) could so shatter aesthetic chains. Shatter they did, for this new freedom allowed Toku to begin creation of some of the most fabulous, thought provoking pipes the world has ever seen.

It's not often I get the opportunity to fire off a double cliché in one sentence but, with Toku-san now outside the box, the genie was out of the bottle. Disks could now take on radically asymmetrical forms and remain aesthetically cohesive; Volcanoes could now truly mimic their geologic counterparts. In the case of this pipe, representing a style created in October or November of 2003, Tokutomi could now visually compensate to a huge rim bias to the right and create a blowfish which could balance on a fin, with its tail high in the air.

In December of 2004, Tokutomi-san began his work on a mind blowing approach to the cavalier shape. This piece found its foundation and finish subtly grounded within forms found in traditional Japanese arts and crafts (Katachi). The foot, bamboo, ferrule, ivory, and bit, all have recognizable antecedents within crafts created from the Edo period forward. This solid underpinning allowed for the placement of a highly organic blowfish bowl. The Cavalier Blowfish was born.

The current state of Tokutomi-san's Cavalier Blowfish first found its voice in September of 2005, and its apotheosis is before you. Viewed from several feet away, the eye never rests on any single element, but takes on the composition in its stunning totality. Intellectually, one understands that this pipe is a groundbreaking fusion of Katachi based symmetry. anchoring a wonderful expression of the organic; a celebration in finding beauty within the imperfect. The heart, however, sees no "fusion"; the soul only recognizes an uncanny, unified form that stands as it own unique aesthetic. Upon closer inspection, one has to marvel at the sense of cohesion and solidity that Hiroyuki Tokutomi achieved given the various material, color, and aesthetic elements employed. The vulcanite foot is quite katachi and, keeping within Toku's earlier vision, initiates a line that is carried all the way to the button. Painfully beautiful cross cut grain and birdseye grace one of the nicest bowls that I have ever laid eyes on, each form and shape perfectly kept in "wa" (harmony) with oppositional echo. Separated into a single element, the vulcanite bit, by itself, is a work of art. Added to the shank it becomes a critical aesthetic component, rather than merely a functional necessity.
-- Bear Graves"



Measurements & Other Details

Length: 7.89 in./200.41 mm. Weight: 5.12 oz./145.15 g.
Bowl Height: 2.29 in./58.17 mm. Chamber Depth: 1.88 in./47.75 mm.
Chamber Diameter: .79 in./20.07 mm. Outside Diameter: 1.56 in./39.62 mm.
Stem Material: n/a Filter: None
Shape: Cavalier Finish: Smooth
Material: Briar Country: Japan


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