Mashiko Pottery and Japanese Ceramics: A Studio Visit to Shiretoko Kiln

When I return to Mashiko, it feels familiar to me now, though I also carry a quiet sense of responsibility.

The town itself has not changed much. The earthy air, the slower rhythm, the quiet streets — they remain steady. Each visit reminds me why this place continues to shape so much of Japanese pottery. The move marked a new chapter, yet his approach remained steady.

 

From Shiretoko to Mashiko

At Shiretoko Kiln, I was greeted warmly as always. Mr. Takeshi Honda first established his kiln in Shiretoko, Hokkaido, before moving to Mashiko nearly twenty years ago. Since then, his Mashiko pottery has gathered devoted followers of Japanese ceramics. His work does not seek attention. It does not follow trends. It remains grounded.

A Bowl That Found Its Place

One bowl in particular caught my eye — black clay with white glaze scattered across the surface. When I asked about it, I learned that this very bowl is used at The Ritz-Carlton. The story began simply: someone encountered the work and recognized its quiet strength. There was no intention to create something prestigious. It was simply his work, made as he always makes it.

Pottery Beyond Technique

Years ago, when we first spoke on the phone, our conversation was not about glaze formulas or kiln temperatures. Mr. Honda spoke about pottery as rooted in ancient human expression, reaching back to early periods such as the Jomon. He mentioned the famous potter Rosanjin and his belief that true beauty carries the power of human nature itself.

What stayed with me was Mr. Honda’s insistence that pottery must be made honestly, without eccentricity. Skill alone does not define a piece. It must be accompanied by thought.

Repetition and the Body’s Memory

In his studio, that clarity appears in his movements. He kneads several types of clay together, adjusting the proportions based on the day's humidity and temperature. There is no measuring. No scale. No ruler.

He shapes one bowl. Then another.

They are nearly identical.

When I asked how this is possible, he smiled and said, "You repeat it. Again and again. The body remembers."

Watching him work, it becomes clear that his philosophy is not separate from his hands. It lives within the repetition.

Each visit to Mashiko reminds me that his work is built not only on technical skill but on years of reflection — steady, unhurried, and deeply considered.

As someone who introduces Japanese ceramics abroad, I am reminded that what I carry is not only Japanese tableware, but a way of thinking shaped by years of quiet practice.

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Here are Takeshi Honda's profile page and works.