I have no wish to appear pompous here, but I think that some are missing a important element of Japanese work, be it in architecture, pottery, or bicycles. As a rule, those that are inspired to be innovators are few. Manual trades have been traditionally taught through consistent repetition of tasks and forms, until the ability to replicate is imbedded in the body of the maker. Westerners seeking to train here, often have a very hard time cultivating the discipline to work in this manner, that is doing the same thing over and over for a lengthy period of time, until the part of the mind that fights with the tedium rots away to allow a new 'freedom' within the tasks. It may not be exactly the creativity that some outsiders may hope for, but it is the proven way of doing things, and enables just about anyone who perseveres to become a competent, if not wonderful craftsman, and importantly, this practice yields highly reliable goods. Given this level of control that comes through repetition and experience, the subtleties of the maker do begin to appear. It is very relaxed and nondescript, and given the totality of a project made from a compilation of components by a person with such a skill level, that persons own attentiveness may ring through in the work, as in the effect from the way he orients his tools toward the work, or the manner in rounding over a edge, etc. As I say, it is a quiet effect, that may not be apparent to the unfamiliar eye, but it says 'handmade'. Actually, there is almost a religion that arose out of the admiration for this quiet 'art', where the humanity shines through and not so much the individual. Some of the most revered and priceless objects in Japan and Korea are made by people whose names are not known, or are indicated anywhere on the work. Many artisans don't aspire to go 'beyond' this to a more unique and individualistic way of working. They make a living, have confidence and trust in their work, perhaps don't have to think about it so much, and the customers know they are getting something well made and connected to a definable tradition. I see great talent in being able to do consistent and clean work within constraints. Sure, some aspire to do more individualistic work, and even fewer succeed. They want to give more thought to what they are doing, or there are the opportunities for greater income if they are recognized, or just their creative juices lead them in this direction, or they make discoveries, whatever. The word 'imitation' sometimes seems to have a element of disparaging context to it, or at least that one might hope for more. I'm wondering if we shouldn't have a somewhat deeper level of thinking about frame makers who may choose to work in a rather specified manner over a lengthy period of time, when that which is achieved is in formula ruled by what has been done before by others. I think that one can often find beautiful and humble creativity within this manner of working, and it may be the shortest route to such achievement.
Dennis Young Forgive the epistle in Hotaka, Japan
> As the poster of that quote, I meant no disrespect but it seems obvious to
> me that Toei is imitating the French builders randonneur bikes. The frame
> lines, generally period correct frame building materials, paint schemes,
> vintage parts and racks seem to be proof enough to me what they're going
> for. I agree that Toei and gang do also improve and refine the old designs.
> Most notably, Toei goes to greater lengths to conceal generator wiring than
> the originals. Why? I don't know but I bet he gets off on it.
>
> Regarding other Toei models, the Euro influence is quite strong but I
> wouldn't describe them as replicas. Toei puts his own spin on old designs
> like most other good builders do. Let's face it, it's all been done before
> so almost any double diamond frame is somehow similar and or influenced by
> something before it.