So, I have read and re-read the reasons for those whom kindly replied to the thread, thank you to all your comments. I appreciate and better understand your individual loves for the Tokoname region. Over the many years of my interest in bonsai I have been shown oodles of pots from every corner of the world and have always wondered what the fascination with Tokoname pots was. With the birth of the internet, I pretty much had the background researched and understood theoretically what the cultural reasons were.
Tokoname pots - as has been mentioned in the replies already - come in all forms, just like every facet of the potters world. Over my time I have seen some very nice ones and many ordinary ones. I certainly am not dismissing their citys influence nor their long history of pot making. After all, bonsai in itself orginated in China, and thus credit for this beautiful art, be it both tree and pot and all associations to it, are rightly credited to China and Japans long history and culture.
I myself just don't see the fascination that is associated and still see them as a hyped status symbol. As stated in replies, it is not a reason that I cannot afford the pots to question their worthiness, nor that I feel they are worth more for their history or tale. As also stated, you can pay a premium for any pot from any potter in any country, depending on their perceived beauty, and to a lesser extent, their effort and costs put into each pot. Reading the replies, it seems that some appreciate the Tokoname pots because of their history of the pot making city, the history of each potter and the love that they hold for their profession and their heritage that makes these uniquely rare, and often old pots so desired and collectable.
For me however, the above paragraph highlights (in my opinion) reasons for why I feel the pots are over-rated. I too feel that a pot is certainly a work of art yes, (forgetting about the history and philosophy that preceeds it), but a pot should be allowed to stand on its own merit and be critiqued without requiring a history or an appreciation for this history to critique the pot. If one has to learn all the history behind the pot to appreciate it, then in true essence it really is just a status symbol. I doubt that most users on this forum can honestly differentiate between these highly regarded old and unique Tokoname pots and a common less quality version. If they can, then all merit to them and I hope they appreciate them.
I guess you can look at it from another point of view. If a multitude of similar katana were made in Japan by the same maker but one was actually used in combat by a famous samurai, then generally speaking the one that was used in combat will probably command a higher interest. Thus a higher price tag would follow for a multitude of historical and appreciative reasons rather than the item itself. But if this knowledge of the previous owner is lost in time, then these swords will command the same price.
Now, there is a funny moment in Indiana Jones and Raiders of the Lost Ark, where Beloch is talking to Indiana about antiques and why they are so reverred and priceless. He relates it to a watch that he pulls from his pocket and says it is a common item today, but bury it for a thousand years and it becomes priceless. Now, that is in itself a loose example of antiquity, but one nonetheless. The fact that Australia doesn't really have a sense of antiquity is in my mind a reflection of the fact that the higher quality Tokoname pots are primarily a status symbol simply because of their age.
I stand by my assesment that in my opinion the pots are over-rated. If I was to find a potter who could replicate Pat Kennedys pots which obviously lacked the PK stamp, it would still be a beautiful pot to me and I would be happy to own it and would pay the same value, regardless of the fact that is was not made by PK and doesn't hold the PK stamp (sorry Pat). But I would not value a PK pot more than the clone because the pot itself is what I critique. What I mean is, because a pot has a Toko stamp on it, the majority of users without realizing may be subconciously paying for this stamp or an intrinsic value, whether they truly believe it or not.
Whether a pot is aged or not, I can't contemplate how this makes it a better pot. Of course I understand that antiques command a premium for the fact that they are aged and some people pay more for something that is simply older, but it doesn't change what the pot is. If the pot has been kept for a hundred years it is still the same pot. If you choose to pay more because it holds antiquity then by definition you are paying a premium for the 'story', but you obviously love it for the age that it holds. I understand this. But if one is paying for the aged 'collectable' value, then it saddens me a little to think that the true quality of the pot is being overlooked.
Yes, the point is always going to be subjective I also understand, but the philosophy of this appreciation may be lost in time, and as we see past what 'story the pot may be telling' and focus on the pot itself, this may come to light. Call me uneducated again, but I can't see a pot telling a story. It just sounds slightly pretentious to me. I value the pot for the pot itself, not whether it has a stamp on it or not. The countless queries about who or where the pot is made from doesn't detract nor attract a higher material value in my eyes.
In my eyes you don't need a long history of culture to associate a grandoise appreciation to something. I completely respect that many users will always see an artistic love of their Tokoname pots and I love that they have this sentiment. On the other hand I hope that they make sure they are valueing it for the right reasons and not a sentimental association of culture. Then again, perhaps this is what they indeed love.
Having said all of the above, people may change their views in time as the great Bodhi has often pointed out. In my eyes living a life of closed mindedness is not living, thus I am happy to remain open minded.