MUSEUM OF NATURE

Press, Volume CIX, Issue 31908, 8 February 1969, Page 3

MUSEUM OF NATURE

Shoji Hamada, Master Potter Of Japan

by the Canterbury Museum) Although it is generally known that museums collect treasures from the past many people are unaware that some museums are also busy safeguarding treasures of our own day.

The Canterbury Museum’s growing collection of contemporary studio pottery is an example of such activity. Included are fine pieces by New Zealand’s own talented potters, others from Britain and several by Shoji Hamada of Japan, perhaps the most famous of all. The Museum’s first Hamada pot, a blue-glazed stone-ware vase with twisted planed surfaces, was purchased by the Museum Trust Board from the R. Chapman Taylor collection in 1963. In 1965 Shoji Hamada visited Christchurch as the guest of the Pan Pacific Arts Festival and opportunity was taken to add to the collection. Hamada had brought with him from Japan a number of fine examples and presented to Canterbury Museum a typical plate-dish' with rust iron glaze outlining a waxresist calligraphic symbol. In addition the Museum purchased a large square bottle with white opaque glaze, a favourite shape of Hamada's. During his stay in Christchurch this renowned potter demonstrated his craft, making many pots from local materials and again generously presented several of these to the museum. We were also pleased to receive from his son, Atsuya, who' accompanied him. a vase made by Atsuya during his Christchurch stay. The Master 8 Home Having so often paused in admiration before this display it seemed too good to be true when in August, 1966, John Scott New Zealand’s Am bass-\ ador to Japan, and his- wife, * Marguerite, invited my hits-! band and me to accompany ' them on a visit to Hamada ‘ at his home in Machiko, ‘ north-west of Tokyo, where he J lives and works in an ancient, thatched farmhouse. > t It was a hot summer day' l and the Ambassador’s driver, ’ Nisi-gawa San (cheerfully 1 translated by him as “Mr I West River”) enjoyed him- i self by blowing the car’s i two-tone horn in all the'! villages. . .!< Machiko is a village ofil potters, where every house i displays its wares, and all < appeared good to me. < Arriving at the Hamada |'

home a short distance from the village, after passing through an ancient, thatched gate-house, we drove through what seemed rather a disorderly garden by Japanese standards and were greeted by our host a bare-footed, workman-like figure in darkblue peasant costume. He was about to open a kiln and had awaited our arrival. At the kiln the strange feeling of unreality again prevailed ■ s as the pots were removed and i- carefully placed outside on is the ground awaiting inspection. All around us lay y articles to delight potters d and admirers of the craft anyn where in the world. Assisted a by Atsuya, whom we were ;t also pleased to meet again, Shoji swiftly but carefully inspected each pot, rejecting p any considered by him to be ._ less than perfect. e n Austere Simplicity Already designated a a National Cultural Treasure, e Shoji Hamada preserves in s his way of life and in his; s work the austere simplicity I i. characteristic of most things! i truly Japanese.

i After an enjoyable meal of rice, salad and fruit, eaten with chopsticks from bowls made by our host, we were privileged to be able to handle Hamada's small but choice collection of- early Japanese wares (notably the fabulous Jomon) which otherwise we would know only from a book or behind the glass of a showcase. All too soon it was time for us to leave, and no less for Hamada who was flying to North America the following day! Our hostess bowed in farewell and from the shelter of her back a tiny, black-eyed grandchild waved two western-style toy pistols and called “bang bang.” We had returned to the world of television. Mr West River blew his two-tone horn and we were on our way back to our temporary home in the twentieth century’s largest city.—MJ.D. The photograph shows Hamada’s house-like kiln With thatched roof, mud walls, and electric power. The potter pauses to speak to Marguerite Scott during his inspection of his latest firing.