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Tsuge's flagship Ikebana workshop has continued to grow over the past few years. The addition of Asami Kikuchi, for example, in November of 2013, marked a new stage for the world-renowned brand. She, along with Fukuda, have taken the marque to even higher standards, leading to higher production and a variety of new shapes, while maintaining that signature meticulous quality which sets Ikebana apart.
That growth hasn't slowed either; in January 2014, the artisan workshop saw the addition of another respected and extremely talented artisan to their staff. His name is Yoshirou Ohi.
Born in 1948, Ohi attended the Tokyo Metropolitan Mokujima Technical High School, from which he graduated with a degree that would prepare him for a long career involving the manufacture of precision automotive parts. This background, and the habits it demanded, would be reflected in turn in the precision he demanded in his independent pipemaking. In fact, in 1974, we was awarded the silver medal in a handmade pipe contest held at Shinjuku Noble. The next year, he took the gold, earning his entry the title of "Best Handmade Pipe of the Year." In 1976, his work was featured in three exhibitions held at some of Yokohama's most prestigious retailers.
In the mid-1990s he branched out in another direction, that of ceramic art, where he again won recognition. Fast forward to 2014, and it is now once more as pipemaker that he's making waves, this time as an integral part of Tsuge's flagship Ikebana line.
Stylistically, Ohi draws heavily from the Japanese tradition, with perhaps a more modern sense of line inspired by his automotive-career appreciation for precision. As such, his compositions are defined by their dynamism, often employing crisp lines and ridges to accentuate spectacular grain patterns with exactness. Furthermore, this also lends his shapes a strong sense of movement, an aesthetic that's been compared to the intricacies of traditional netsukes.
But viewing his designs from the profile really isn't enough to truly grasp his signature aesthetic. No, one must view each piece from all angles to truly understand Ohi's unique, frequently organic, and always active style. You have to hold it in your hand, to feel the momentum of line, to witness the harmony between transition, shank, and stem. But when you do, rest assured, it's simply beautiful.
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Comments
I have had the pleasure to meet Ohi sensei in person: a real gentleman and a humble genius. I also have the honour to have several pieces made by him in my small collection. I fully agree with Andrew's description: only keeping one of Ohi's pipe in your hands you can really understand their beauty and complex forms. Still not a recognised master (at least for many collectors) but definitely second to none.
Another "hit in the target" for Tsuge Company.