was a Japanese potter. He had a significant influence on studio pottery of the twentieth century, and a major figure of the mingei (folk-art) movement, establishing the town of Mashiko as a world-renowned pottery centre. In 1955 he was designated a "Living National Treasure". Biography Hamada was born in Kawasaki, Japan, in 1894, and was named . After finishing his studies at the elite Hibiya High School, he studied ceramics at Tokyo Institute of Technology, then known as Tokyo Industrial College with Kawai Kanjirō under Itaya Hazan. As the sole students in the school interested in becoming artist-potters, Hamada and the slightly elder Kawai were soon friends, touring the city in search of inspiration. They worked together in Kyoto at the former body of the Kyoto Municipal Institute of Industrial Technology and Culture where they experimented on glazes using various minerals. They were acquainted by Yanagi Sōetsu and Tomimoto Kenkichi while visiting potteries and exhibitions. Hamada was deeply impressed by a Tokyo exhibition of ceramic art by Bernard Leach, who was then staying with Yanagi Sōetsu, and wrote to Leach seeking an introduction. The two found much in common and became good friends, so much so that Hamada asked and was granted permission to accompany Leach to England in 1920 when the latter decided to return and establish a pottery there. Pottery in Mashiko Having spent three years in St Ives with Bernard Leach, he returned to Japan in 1923 and traveled to potteries and stayed at Tsuboya in Okinawa Prefecture for weeks, then eventually established his workshop in Mashiko, about north-east of Tokyo. Here, he built his own pottery and committed himself to using only locally sourced materials, not only in the clay he used, but also the glazes he created and the brushes he manufactured himself from dog hair and bamboo. In 1955 the Japanese government designated him "Living National Treasure", the first time for someone from the field of crafts. The previous year on 29 May 1954, the Cultural Property Protection Act had been amended, and a new Preservers of Important Intangible Cultural Properties (Jūyō Mukei Bunkazai Hojisha) designation was passed the bill in November for its criteria and approval details. Following Yanagi Muneyoshi, Hamada was enthusiastic about folk art movement in Japan. When Yanagi died in 1961, he succeeded as the second director of the Japanese Folk Crafts Museum, and in 1977, he opened his own