Stoneware JarHamada Shōji · 1964

The Form and Surface of the Stoneware Jar

This stoneware jar, created in 1964, presents an ovoid shape with a bulbous silhouette. The vessel is constructed from grey stoneware clay that has been fired to a high temperature, resulting in a dense and matte surface. The texture of the clay remains visible across the body of the piece. In its construction, the shoulder and mouth portions were thrown separately and then luted together, a process that leaves subtle variations in the thickness and contour of the vessel. The exterior features black accents that contrast against the primary grey tone of the stoneware. The object possesses a heavy, stable base and a rounded form that emphasizes the weight of the material.

Technique and Materiality

The production of this jar relies on traditional pottery methods associated with the mingei movement. The potter utilized local materials, including clay sourced from surrounding hills and glazes derived from natural minerals. The application of the glaze involves a controlled process where the upper part of the vessel features an ivory-colored, mottled glaze over a cross-hatched raised relief motif. This glaze layer drips over a brownish-black glaze on the lower sections. The use of high-temperature firing ensures the durability of the stoneware. Every element of the jar, from the way the clay is thrown to the application of the mineral glazes, focuses on the inherent qualities of the earth and the physical properties of the medium.

Historical Context and Aesthetic Philosophy

Created during a period when the mingei movement sought to preserve the utility of rural Japanese crafts, this jar reflects an emphasis on functional design. The work is rooted in the traditions of Mashiko, a pottery center established through the efforts of Hamada Shōji. The aesthetic approach avoids superfluous decoration, prioritizing a balance between the object's shape and its intended use. This philosophy draws from the concept of wabi-sabi, which finds meaning in the natural textures and the marks left by the manufacturing process. The jar exists as a physical connection to ancestral techniques, specifically those influenced by the exchange of ideas between Japanese and English ceramic traditions during the twentieth century.