Shoji Hamada (1894–1978) was a ceramic artist born in Kanagawa Prefecture who was based in Mashiko, Tochigi Prefecture. Alongside Kanjiro Kawai and Soetsu Yanagi, he was a key figure in the Mingei Movement, and held the rustic beauty inherent in the handiwork of anonymous craftsmen in high regard. Making the most of Mashiko’s clay and glazes, he produced numerous vessels characterised by a powerful yet warm quality, employing techniques such as iron painting, red painting and salt glaze. In 1955, he was designated a Living National Treasure as a holder of Important Intangible Cultural Property for Mingei pottery, thereby demonstrating new artistic value in vessels used in everyday life.

When viewing Shōji Hamada’s works, one senses an approach that seeks not to showcase intricate technical skill, but rather to bring out the natural qualities of the clay and glazes. His bold brushwork and substantial forms possess a generous vigour, whilst even the slightly uneven textures convey the warmth of the human touch. To me, these vessels do not appear to be mere works of art intended solely for display; rather, they seem to gain even greater charm through actual use. I believe the great appeal of Shōji Hamada’s work lies in the fact that a genuine aesthetic sensibility breathes within its simplicity.