Wright Auction

Shōji Hamada (1894–1978) was a revered Japanese potter and one of the most influential figures in the 20th-century ceramics world. Born in Tokyo, Hamada's early interest in ceramics led him to study at the Tokyo Institute of Technology, where he developed his foundational skills in pottery. His life took a significant turn in 1919 when he met the philosopher and aesthetician Yanagi Sōetsu, who would become a key figure in the Mingei (folk craft) movement, which sought to celebrate and preserve traditional Japanese crafts. This encounter, along with his association with the British potter Bernard Leach, profoundly shaped Hamada's philosophy and approach to ceramics. Together with Leach, Hamada traveled to England in 1920 to help establish the Leach Pottery in St. Ives, a collaborative experience that influenced his work for the rest of his career. It also helped bridge Eastern and Western pottery traditions.

Upon returning to Japan in 1924, Hamada established his own kiln in Mashiko, a rural town known for its clay, which would remain his home and creative base for the rest of his life. He chose Mashiko not only for its rich pottery tradition but also for its alignment with his belief in the importance of local materials and craftsmanship. In Mashiko, Hamada practiced his craft according to Mingei principles, which emphasized the beauty of everyday objects, simplicity, and the integrity of handmade processes. His pottery, often functional, was characterized by earthy glazes, unadorned forms, and spontaneous brushwork that reflected both traditional Japanese aesthetics and his own artistic intuition.

Hamada's work became internationally recognized in the mid-20th century, and he played a significant role in popularizing Japanese folk ceramics both in Japan and abroad. His reputation grew through exhibitions, lectures, and collaborations, including a return to the United Kingdom and the United States, where his philosophy and work resonated with potters and artists alike. In 1955, Hamada was designated a "Living National Treasure" by the Japanese government, a title given to artists who preserve important cultural properties. This recognition solidified his status as one of Japan’s foremost cultural figures, and his studio in Mashiko has been preserved as a museum, showcasing his contributions to the art and craft of pottery.