#shōji hamada

[punkysdilemma-blog]

Incredible mixing of a colours and textures in this portrait of pioneering Mingei movement potter Shōji Hamada

[teconozcomascarita]

Shōji Hamada, Bernard Leach, Sōetsu Yanagi y Marguerite Wildenhain, Black Mountain College, Asheville, Carolina del Norte.  William Watson, otoño de 1952

[largebowlcirca1960]

Shōji Hamada

[largebowlcirca1960]

Get to Know Mingei, the Japanese Folk Art Movement You’ve Never Heard Of

The Seattle Art Museum exhibition Exceptionally Ordinary: Mingei 1920–2020 explores the artistry behind everyday objects.

[largebowlcirca1960]

copy of Kōgei issue no. 100 devoted to the traditional crafts of Okinawa.

Remarks: Kōgei

 was the official journal of the association Nippon Mingei Kyokai, founded in 1926, by the philosopher Yanagi Soetsu and the potters Hamada Shoji and Kawai Kanjiro promoting the evaluation of various forms of popular arts.

[reallychocolatefan-blog]

(via https://www.youtube.com/watch?v=CwFtg8mBW3s)

last week, professor mentioned some of famous pottery master in class. I am interested one of the master in ceramic named Shōji Hamada. He is one of the famous Japanese potter. The video shows the way this master making an vessel. The direction and process are slightly different from today modern pottery.  The way he made pottery is more traditional and complicated. Among his works and creations, there is a sense of abstract beauty in his decoration. Simple line and textile make his work outstanding from the others. I think, in his work, he transfer Japanese culture of silence and meditation to his works. The decoration not just for decorating the ceramics, but also it stands for its culture.

[ringmeperhaps]

Shōji Hamada (濱田 庄司 Hamada Shōji?, December 9, 1894 – January 5, 1978) was a Japanese potter. He was a significant influence on studio pottery of the twentieth century and a major figure of the mingei folk-art movement, establishing the town of Mashiko as a world-renowned pottery centre.

[artandknowledge]

“This may sound strange, but I wish to surround myself with contemporary works. It is a fact that new works are often inferior to good old works. However, if a work made today is honest, even though imperfect, it carries the sincerity and weakness of the maker which in return corresponds with the user. In this regard, both parties reach each other at a more intimate level."

~Shoji Hamada, 1892-1978

[1]. Shōji Hamada, Vase, ca. 1952. Stoneware, salt glaze with iron black painted decoration on white slip, 25 x 21 cm.

[2]. Shōji Hamada, Teabowl, 1944. Stoneware, ash glaze with inlaid and iron painted decoration, diam. 14.5 cm. Gift of Mr. Horio Mikio, The Museum of Oriental Ceramics, Osaka.

[3]. Shōji Hamada, Bowl. Stoneware, white glaze with iron black poured decoration, diam. 50.6 cm. Gift of Mr. Horio Mikio, The Museum of Oriental Ceramics, Osaka.

[4]. Shōji Hamada, Square Dish, ca. 1970. Stoneware with trailed glaze decoration, 2 1/4” x 11” x 11” in. Gift of Glenn C. Nelson, Tweed Museum of Art, University of Minnesota Duluth.

[5]. Shōji Hamada, Square jar with octagonal opening. Stoneware with kaki glaze with akae (enamel) decoration, 9 in. (23 cm) in height.

References:

Yvonne Tan, Hamada Shoji: The Horio Mikio Collection, Asian Art Newspaper (March 11, 2012)

Tweed Museum of Art (University of Minnesota Duluth), 50 Years/50 Works: Shōji Hamada

Andrew L. Maske, Three Generations of Hamada Potters, Ceramic Arts Daily (December 2009)