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Japanese Art historian, Andrew Maske, and Hamada Tomoo (grandson of Japan’s National Living Treasure, Hamada Shoji)  discuss recent tea bowl scholarship  with an audience of 70 students and art professionals at the Ceramics Program.

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Hamada, Tomoo demonstrated glazing and gave a presentation about his family legacy in Mashiko. He is the grandson of Hamada Shoji, “National Living Treasure” and THE major figure of the mingei folk-art movement.

“Hamada, Tomoo’s pots utilize essentially the same materials as those of Hamada Shinsaku(his father) and Hamada Shoji (his grandfather) – glazes like reddish brown kaki, brown tenmoku, cobalt blue, white rice straw ash, bluish-white namako, green seiji, black kurogusuri, creamy nuka, translucent namijiro, 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 the use of unconventional shapes, extensive application of overglaze enameled decorations, and surface textures. In particular, his tiered fl asks (HT21) are very progressive, and unlike anything seen before in a mingei genre. It is clear that Tomoo has been looking beyond the works of his forebears, examining works from the early English Arts and Crafts movement, and even from art nouveau.” — Andrew L. Maske

*This program was presented in conjunction with an exhibition at
the Pucker Gallery, 171 Newbury Street, Boston, MA
from June 13 through July 20, 2009.
“Hamada: Three Generations of Japanese Potters”
Opening Reception: June 13, 2009, 3 – 6 pm
Potter’s Event: Sunday, June 14, 3 – 5 pm
RSVP to justine@puckergallery.com

“The world of traditional ceramics in Japan naturally places great emphasis on lineage. Lines of potters that began in the late sixteenth or early seventeenth century are now in their fourteenth or fifteenth generations. A lineage of only three generations may seem insignificant by comparison, but (the exhibition at Pucker Gallery) by the Hamada family makes it clear that it is not the length of the line that is most important, but rather the quality of the work.”— Andrew L. Maske

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