Mashiko Ware

While its industry suffered during the recession after World War I, as well as during the Great Depression and World War II, Mashiko potters endured, relying on their traditional production system of combining farming with pottery making (hannō-hantō). Today, more than 400 workshops thrive there, most built after World War II.

Mashiko’s ceramics industry developed further in the Meiji period (1868–1912). With the abolition of feudal domains and the establishment of prefectures in 1871, control of the Kurobane domain transferred to the jurisdiction of Kurobane prefecture. Later that year, it was incorporated into Utsunomiya prefecture. At that time, ceramics production in Mashiko mainly comprised household wares such as bowls, plates, teapots, sake flasks, jars, pans, beakers, grinding bowls (mortars), lidded cooking dishes, and rice cookers. Particularly popular in the early Meiji period was white slip and painted decoration, especially for teapots with landscape designs, known as sansui dobin (landscape teapots). 

With the establishment of the Mashiko Ceramic Association in 1903, the training of ceramics craftsmen there began to progress. In 1913, the Mashiko Ceramics Association established the Mashiko Ceramics Training Center. Today, the Industrial Technology Center of Tochigi Prefecture educates specialists in the ceramics industry. In the Taishō (1912–1926) and Shōwa (1926–1989) eras, Mashiko potteries continued to produce a wide variety of utilitarian ceramics. Two particularly popular items were kisha dobin (train teapots) and kamakko. Kisha dobin were teapots used at train stations, and kamakko were lunchbox vessels for rice and meat. Kamakko reached their peak of production in 1956 when they were used at Yokogawa station.

Upon returning to Japan, Hamada met the philosopher and scholar of religion Yanagi Sōetsu and the potter Kawai Kanjirō. The three are credited with coining the word Mingei (folk craft), a condensed form of the term minshūteki kōgei. This marked the beginning of the Mingei movement, which espoused appreciation of the beauty of common household objects made by anonymous craftspeople. 

Upon the conclusion of the Pacific War in 1945, Murata Gen (1904–1988), Shimaoka Tatsuzō (1919­­–2007), Takita Kōichi (born 1927–) and other aspiring potters gathered at Hamada’s workshop to study under his tutelage. Although they had different approaches to expression, together they laid the foundation for contemporary ceramics in Mashiko. Like Hamada, Murata pursued ceramics that embraced the particular qualities of Mashiko clay, resulting in rugged and practical vessels. 

Takita Kōichi turned to porcelain, using a forming process he learned from Hamada. Takita’s porcelain works exude a sense of warmth and serenity, an aesthetic contrasting that of many sharp-edged porcelain vessels that appear as if they could cut one’s hands. 

A younger former classmate of Kamoda Shōji, Seto Hiroshi (1941–1994) also established his studio in Mashiko. In contrast to the ceramics of Kamoda, Seto’s works boldly emphasize vivid colors like red, yellow, and green.