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Ikebana – Pipedia

Introduction

Tsuge’s Ikebana line of pipes have generally been known as ‘The Flowers of the Pipe World’, which makes sense–the literal translation of Ikebana resides flowers, which refers back to the excessive type of Japanese floral association. The apply and presentation of an Ikebana association is alleged to encourage silence, and an appreciation of nature that’s generally ignored within the rush of our busy lives. It’s also mentioned to encourage the appreciation of magnificence in all artwork kinds. For years the Tsuge brothers have entrusted the over web site of their Ikebana line to Kazuhiro Fukuda.

A Lovely Tsuge Ikebana Freehand, Courtesy Smokingpipes.com

Tsuge Ikebana’s New Pipemaker

In November of 2013, a brand new and thrilling pipe maker was introduced as Fukuda’s inheritor obvious. The next article by Sykes Wilford seems courtesy of smokingpipes.com

As a lady in her late 20s, Asami Kikuchi is one thing of a rarity in pipe making. Certainly, she’s much more of a rarity in Japanese pipe making. There are only a handful of feminine high-grade pipe makers on the planet and all of them, save Kikuchi, have been both the daughter or the partner of a pipe maker. Kikuchi’s path has been uncommon, a serendipitous street to a profession she by no means thought existed, not to mention longed for, just a few years in the past.

In her fourth yr at Tama Artwork College, certainly one of Japan’s most illustrious artwork colleges, Kikuchi undertook an uncommon undertaking. Most of her fellow college students labored on architectural tasks or industrial design projects–chairs, tables and the like–or in additional conventional, solely visible arts. Kikuchi grew to become fascinated with wooden. Extra particularly, she grew to become captivated by the tactile experiences made doable by means of the creation of small picket objects; their potential to appease, stimulate, and delight. In an artwork faculty in Europe or the US, this would appear significantly odd, however in Japan, with its historical past of extremely creative, small handcrafted items, whereas it was nonetheless a bit of uncommon, there was, not less than, a framework for doing this type of work. Kikuchi says that when she began the undertaking, everybody from mates to professors was a bit bemused by the entire concept. It significantly deviated from the types of issues artwork college students did, however as she labored by means of the undertaking, they got here to know.

In an attention-grabbing coincidence, the supervising professor for that closing artwork faculty undertaking was a childhood pal of Kyozaburo (Sab) Tsuge’s spouse. A few years after she completed artwork faculty she was contacted by this professor due to the similarity in underlying concept between her closing undertaking and pipe making: each in wooden and each extremely tactile in addition to visible. It did not go wherever for a short while, however when Kikuchi acquired an order for a variety of her small picket sculptures and wanted entry to a workshop to make them, she reached out to Tsuge and he supplied her use of the Tsuge workshop in Asakusa after hours. And from there, she fell in love with the method of pipe making. It was as if she’d at all times wished to make pipes, however ready to find that handmade pipes existed. It was the proper match for the type of work she had at all times wished to do.

Having accomplished the undertaking for her shopper, she requested Tsuge if she may keep and be taught to make pipes. Fukuda, major carver for the Ikebana line for 4 a long time, is in his seventies and whereas he is in nice well being and nonetheless remarkably productive, Sab Tsuge and others have been in search of somebody to be taught, complement Fukuda’s work, and, in time, information the Ikebana line into the long run. Sab Tsuge cautioned her that it would not be straightforward, after which gladly welcomed her aboard.

In response to Kikuchi, Fukuda is fairly old-fashioned. Whereas not fairly ‘Wax on, wax off’, the training course of concerned a number of watching, whereas Fukuda fortunately answered her questions. Fukuda, grounded in an older custom of expertise, handled it way more as a master-apprentice relationship than a teacher-student relationship. He had her do helpful duties that additionally bought her accustomed to the equipment and the types of labor that may be obligatory for pipe making. And he set very excessive requirements, quietly spurring her on in the direction of higher and higher work.

She’s been making pipes full-time with Tsuge for a bit of over a yr now. Ryota, ‘Our Man in Japan’, Shimizu, and I first noticed her work in December, 2012. We have been instantly impressed and noticed the big potential she had. Nearly a yr later, she’s at a stage the place her work would suits completely within the Ikebana line. Stylistically, she gravitates to some completely different shapes from Fukuda, however the underlying work is simply as sound. In fact, Sab Tsuge definitely thinks so: the Ikebana stamp is one thing of a company–and Tsuge family–treasure, not one thing to be utilized frivolously.

As Sab Tsuge mentioned, “whereas she’d by no means encountered pipes, her work at college had such a exceptional affinity to pipes. After I noticed the small sculptures Kikuchi had made, I instantly thought that she may make pipes.”

Conventional Mentorship: Pipe Crafting Anachronism?

By R. Bear Graves, courtesy, smokingpipes.com

Given that almost all the lauded artisans/masters who’ve emerged over the previous decade started, and progressed, of their artwork largely of their very own efforts, with solely web boards, the occasional ‘workshop’ and the uncommon 1-2 day visit a senior carver’s place, it will be truthful to ask: “Is there nonetheless a spot for a staunchly conventional Grasp/pupil relationship?” Given the superb debut pipes of Asami Kikuchi, I imagine the reply is ‘sure’. As a result of required alignment of conditions and circumstances between each events, nevertheless, the precise possibilities of such a relationship forming ranges between ‘extremely unlikely’ to ‘damned close to not possible’.

Regardless that residing throughout the identical metropolis, the mix of timing, components and coincidence required for the Tsuge/Fukuda/Kikuchi match to happen would have Vegas bookmakers scratching their collective heads – and but it occurred. Kazuhiro Fukuda wanted a successor. A gifted artwork pupil, with a demonstrated affinity for working with small picket objects realized that, for her whole life, this was what she was born to do, however merely wanted publicity to the thought as a way to understand it. An settlement was struck, and probably the most conventional/formal of Grasp/apprenticeships started, throughout the framework of (arguably) probably the most formal of artisanal societies: Japan.

By conventional requirements, whereas Kikuchi didn’t have to attend (within the rain) in entrance of the grasp’s door to realize eventual entry, her apprentice path started with arriving day by day and prepping her grasp’s work space. From there, she was allowed to deal with small, not directly associated duties and quietly ask questions. On the cusp of apprentice and journeyman, the essential steps in creating an ideal airflow have been addressed, the kohai begins to assist with sanding, and even takes the primary faltering steps of carving discarded blocks. Relying on the trainer, even at this early stage, the sensei would possibly demand an opinion concerning a form in progress. Whereas her reply was inevitably ‘unsuitable’, and the trainer patiently explains why, that is the place the 2 events start to really join with one another’s method to visualization, because it addresses translating the thought of a form, into the corporeal. By the point Kikuchi hit superior journeyman, if her artwork was regarded extra superior than another, save the grasp, the kohai turns into sempai (suppose ‘high pupil’) and helps mentor others, in addition to now having a full hand within the creation of pipes worthy of the highest marque. It’s at about this level the place progress stops being mentioned, and, typically for months, the plain (however by no means referred to) query hangs within the air. Sooner or later, intentionally calculated as a shock and infrequently falling on the heels of being taken to job over some small element, the grasp (and rules, if concerned) will instantly seem, smile broadly, and confer the standing the scholar has so diligently pursued.

Asami Kikuchi went from a easy consciousness that briar may signify the top of a carver’s artwork, to the brand new Grasp of one of the revered pipe marques on the planet in lower than a yr. One thing that, at first blush, would appear extremely unbelievable, till you ask your self what outcomes would possibly happen from (say) a Jeff Gracik spending eight hours a day, six days per week, proper subsequent to a Teddy Knudsen, when each knew {that a} new grasp wanted to step on the world stage in lower than a yr. Sure, the normal grasp/apprentice system nonetheless works.


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