Shoji Hamada "Mujinzo"

"Taste is perceived in parts, but feeling is perceived as a whole. Those who speak of taste, however meticulous their view, are somehow captivated by the object itself. Those who perceive through feeling step back and encounter the object from their own unique perspective. From the creator's point of view, taste can mostly be achieved through intention, but true feeling cannot. It is, so to speak, an inherent quality, distinct from what the artist intended, yet, I believe, it exudes its fragrance even more impartially. Creators, often starting with an intention, rejoice in results that are close to their expectations and lament those that are far off. However, the true essence often emanates from something else, and in reality, there is not as much difference in superiority or inferiority as the artist themselves might worry about. For those who view with an unadulterated feeling, there would likely be little distinction."

"For example, on the ground, there are tree shapes and things that bloom like flowers, but in reality, there are roots underground, and I want people to calmly re-examine the idea that those unseen roots are calling to them. I want them to compete with their roots, rather than with branches or flowers. And when the flower bears fruit, I don't want them to think that's the end result; I want to accept the answer as being when that fruit sinks into the earth and sprouts next spring."

Mujinzō, an essay collection compiling writings by the potter Shoji Hamada, who, alongside Muneyoshi Yanagi, Kanjiro Kawai, and Bernard Leach, played a central role in the Mingei (folk craft) movement and is also known as the restorer of Mashiko ware. These writings were contributed to magazines such as "Mingei," "Kogei," and "Tōsetsu," as well as newspapers and books. It collects texts that capture the sensibility of craftsmanship nurtured through his dedicated creative work using his "eyes and hands" in Mashiko, Kyoto, and Okinawa. It also includes his observations from visiting kilns overseas with Yanagi, Kawai, and Naoya Shiga, his insights into Korean and Okinawan pottery, and his accounts of interactions with and the personalities and styles of Kawai, Shiko Munakata, Keisuke Serizawa, Leach, and Kenkichi Tomimoto. This masterpiece offers insights into the principles applicable not only to pottery but to all creative endeavors that involve moving one's eyes and hands and engaging with objects, such as cooking, dressmaking, and art production. These principles are discussed in an easy-to-read narrative style, while also revealing the profound extent of the friendships he forged with the figures involved in the Mingei movement.
The title on the slipcased hardcover book was calligraphed by Shiko Munakata. The first edition was published in 1974 (Showa 49). This is the second edition from 1975 (Showa 50).

※This is a used book.
Condition: The cover has some dirt, and the spine and outer slipcase are darkened. There are traces of a removed slip on the last page. The condition is standard for a used book. Please be aware of this before purchasing.