Shoji Hamada (1894 - 1978) Japanese National Treasure

Shoji Hamada an Artisan

1920-23, he shared a studio with Leach, St. Ives, Cornwall. In 1924, he returned to Japan and set up a studio in Mashiko, a traditional village of artisans north of Tokyo, where he specialized in simple plates. Hamada viewed himself as an artisan and felt little need to sign his work or draw attention to himself. As an artisan, he regarded themselves as links in a chain, as part of a tradition, and their primary aim was to continue that tradition.

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Hamada used traditional enamel colours: grass-green from copper, amber from iron, and a particular cinnabar red – on glazed stoneware. He said jokingly that enamels should be ground for three years.

Mingei (Popular Art)

Hamada’s work was characterized by the great liberty he took with shapes and the spontaneity of his decorations. In the 1910s and 1920s, he developed the idea of Mingei (‘popular art’) created by philosopher Soetsu Yanagi, a friend of Leach. He made simple forms, including unusual sake bottles inspired by models of Okinawa, teapots, vases and plates in the moulded or turned grey ware of Mashiko.

His work shown at 1962 ‘Gres d’aujourd’hui, d’ici et d’ailleurs’ exhibition, Chateau de Ratilly (France), and 1962 ‘Maitres potiers contemporains,’ Paris Musee des Arts Decoratifs. In 1955, he was officially appointed a living national treasure in Japan.

The collaboration between Hamada and Leach not only cemented their own careers but also had a lasting impact on the world of ceramics. They were instrumental in popularising the Mingei (folk craft) movement, emphasizing the importance of simplicity and function in pottery. Their friendship was a testament to the power of cross-cultural collaboration, enriching their art and leaving a lasting legacy that is studied and admired.