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HAMADA Three Generations HAMADA Three Generations PUCKER GALLERY • BOSTON 2 Shoji Hamada Shinsaku Hamada Lidded Bowl Bottle tenmoku and white poured decoration black and white glaze 6 x 7 ¾ x 7 ¾" 8 x 6 ¼ x 4 ¼" H11 HS8 Tomoo Hamada Shinsaku Hamada Vase Jar blue and kaki glaze with akae decoration salt glaze 9 ½ x 9 ½ x 6 ¼" 7 ½ x 7 ¼ x 7 ¼" HT21 HS6 3 Three Generations of HAMADA POTTERS f all the well-known Japanese ceramic art- holistic manner, and that his workshop, house, clothes, ists of the past four hundred years, men and lifestyle were all related to his greater motivation for like Raku ware’s Chojiro, the Kyoto design- working in clay. One is struck most strongly by both his ers and decorators Nonomura Ninsei and aesthetic focus and the reverence with which he treated OOgata Kenzan, and the innovative and technically brilliant his profession. These, and a keen sense of design, are Makuzu Kozan, by far the most famous and infl uential has what set Hamada Shoji apart from other ceramists. been the twentieth-century folk craft (mingei) movement Hamada Shoji’s son, Shinsaku, naturally has had a life potter Hamada Shoji (1894-1978). It is ironic that Shoji both easier and more diffi cult than his father. One might sought to capture the spirit of “nameless potters” (mumei suppose that growing up watching his father, then working toko) who had worked before him, and ended up becoming alongside him well into adulthood, it would take Shinsaku famed around the developed world. It is even more surpris- little effort to produce whatever he wanted. In fact, he re- ing that he began his craft not in a traditional workshop as ally only had to continue his father’s basic style, using the an apprentice to an established potter, but in one of Japan’s same materials and the same tools, and he was assured of newly-founded technical schools, Tokyo Industrial College. a comfortable life with a steady income. At the same time, It is important to realize that Hamada Shoji did not however, it must be admitted that Shinsaku’s circumstances set out to become a folk craft style potter from the outset at the time of his father’s passing could not have been very of his career. His fi rst teacher was the famed porcelain easy. Although he had all the skills to continue making his artist Itaya Hazan (1872-1963), whose delicately executed father’s style of pots right there in his father’s own work- designs in soft colors and relief and habit of wearing a shop, if he chose, Shinsaku was also faced with a situation white lab coat when he worked were the antithesis of in which the number of potters coming to Mashiko to cash the mingei ideal. Both Shoji and his good friend Kawai in on the Hamada mingei legacy was increasing steadily. Kanjiro (1890-1966) worked as ceramics technicians at the Yet Shinsaku had resources beyond what might be Kyoto Ceramic Testing Institute – their fi rst paying jobs in expected. As a young man, he attended Waseda University ceramics. Thus, it is a mistake to in Tokyo, one of Japan’s foremost refer to Shoji as either a folk artist private universities. There he or a traditional potter, because the studied industrial arts, since he styles he worked in were con- had already decided to be a potter. sciously selected and developed After graduation, Shinsaku ap- from all the many ceramic modes prenticed in his father’s workshop, he encountered. and in 1953-54 he served as an Today, when we read about assistant to his father on his fi rst Shoji in his later years and see visit to the United States. Susan photos of him bent over the Peterson, in her wonderful 1974 wheel in his traditional garments, classic Shoji Hamada: A Potter’s we tend to assume that those Way & Work, records that in his outward trappings are essen- prime, Shinsaku could throw tial for any Japanese traditional seventy-fi ve tea cups in an hour craftsman/artist. Shoji typically – quite a remarkable feat. In the dressed in western suits on formal forward to that volume, Bernard occasions, however, he no doubt Leach also pays tribute to Shin- wore native working garb mainly saku’s wheel-throwing skills. One because he found it comfortable, wonders – how many of the pots not because he thought it nec- Shinsaku Hamada that pass as Shoji’s were actually essary for a “traditional” potter. Vase thrown by Shinsaku? Of course, celadon glaze That said, it is obvious that Shoji 7 ¾ x 4 ¾ x 4 ¾" neither Hamada Shoji nor anyone approached his life and work in a HS10 else who understands the mingei 4 Tomoo Hamada Tomoo Hamada Vase Bottle white glaze with akae decoration salt glaze 11 x 12 x 12" 11 ½ x 7 ¾ x 5" HT2 HT47 Tomoo Hamada Tomoo Hamada Bottle Bottle black and white glaze with akae decoration black and white glaze with akae decoration 9 ½ x 9 x 6" 7 ½ x 9 x 5 ¾" HT22 HT41 5 approach would say that there’s skillfully and generously applied anything wrong with that. After overglaze enamel decoration, all, most traditional ceramics creating an almost textile-type around the world were made as surface on many of his works. part of a collaborative process. His favorite motif no doubt is (Moreover, there is little doubt a type of shell-rondel; it ap- that Shoji personally worked pears not only in relief and in in some way on every ceramic enamels, but even in openwork piece that his workshop sold (HT2). Although his pieces are Tomoo Hamada under his name.) Bottle all vessels, some of them would Looking intently at kaki glaze with akae decoration be diffi cult to use, and seem Shinsaku’s ceramic pieces, the 10 ¾ x 12 ½ x 3 ½" created to be admired on a HT42 differences between his works shelf rather than be handled by and those of his father become clear. While the two share their owners. Among such works, those of unconventional many of the same sturdy, utilitarian shapes, Shinsaku’s or asymmetrical shapes stand out (HT22, HT41, HT42, approach to decoration and glazing parts ways with that HT47). For use or not for use – that is the question that of his father. While Shoji focused on the motif, captur- has haunted both vessel potters and their buyers since ing simplifi ed or abbreviated forms from nature (H32), or handmade ceramics fi rst outstripped their production line depicting energy, through techniques such as splash glazing counterparts in cost. One can imagine that today, relatively (H11), Shinsaku is more concerned with rhythm and pat- few of Shoji’s many surviving works are used on a daily tern, using repeated forms to evoke a subtle emotional re- basis, and most are probably never used except for display. sponse and bring a sense of wholeness to his vessels (HS8, Tomoo seems to have made a practical choice to create HS10). Moreover, Shinsaku’s work often has an engaging pieces that are, fi rst and foremost, satisfying visually, and to sense of liveliness and even humor to it (HS6, HS20). If let the purchasers fi nd ways to use them if they so choose. the impression made by Shoji’s work could be thought of The world of traditional ceramics in Japan naturally as a sublime smile, the feeling of Shinsaku’s work might be places great emphasis on lineage. Lines of potters that characterized as a joyous giggle. began in the late sixteenth or early seventeenth century Shinsaku’s second son, Hamada Tomoo, has taken yet are now in their fourteenth or fi fteenth generations. A a different tack from those of his father and grandfather, lineage of only three generations may seem insignifi - meanwhile maintaining certain consistencies that distin- cant by comparison, but this selection of works by the guish Hamada-lineage ceramics. Tomoo’s pots utilize es- Hamada family makes it clear that it is not the length of sentially the same materials as those of Shinsaku and Shoji the line that is most important, but rather the quality of – glazes like reddish brown kaki, brown tenmoku, cobalt the work. blue, white rice straw ash, bluish-white namako, green — Andrew L. Maske seiji, black kurogusuri, creamy nuka, translucent namijiro, February 2009 and runny-green wood ash, all used to cover a speckled tan clay dug and formulated right in Mashiko. Unlike his elders, however, Tomoo has become much more daring in Andrew L. Maske received a doctorate in Japanese Art History from Oxford University in 1995 and has held positions at the Peabody Essex Museum, the use of unconventional shapes, extensive application in Salem, Massachusetts, the Rhode Island School of Design, and Harvard of overglaze enameled decorations, and surface textures. University. He played a major role in the Metropolitan Museum of Art’s 2003 In particular, his tiered fl asks (HT21) are very progressive, catalogue, Turning Point: Oribe and the Arts of Sixteenth Century Japan, and unlike anything seen before in a mingei genre. It is and was curator of the 2004 Peabody Essex Museum exhibition, Geisha: Beyond the Painted Smile. During the time he lived in Japan, Dr. Maske clear that Tomoo has been looking beyond the works of his studied numerous aspects of Japanese art and culture, including chanoyu (tea forebears, examining works from the early English Arts and ceremony). In 2007 he was a Fulbright Research Fellow in the Beijing Uni- Crafts movement, and even from art nouveau. versity Department of Fine Arts where he studied contemporary Chinese art ceramics.
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