Hexagonal flower vase

Hamada Shōji Japanese

On view at The Met Fifth Avenue in Gallery 202

Spontaneous vitality, prioritized over perfection, is a frequent hallmark of Hamada’s work. Yanagi Sōetsu, leading theorist of the mingei movement, advocated a nonintellectual approach to achieving beauty that supported Hamada’s methods. Such ideas influenced members of the Otis Art Institute in Los Angeles, including Peter Voulkos and Ken Price, who moved away from utilitarianism, explored new artistic potentials, and even incorporated mingei aesthetics.

Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan

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Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan
Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan
Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan
Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan
Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan
Hexagonal flower vase, Hamada Shōji (Japanese, 1894–1978), Stoneware with persimmon glaze and polychrome overglaze enamels, Japan

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