Though he was raised as a potter’s son, Hayashi Shotaro chose to pursue a life in business after high school. He eventually found a job with a company in Nagoya, but life as a “salary man” did not satisfy him and he returned to his hometown to study pottery under his brother. His innate talent quickly manifested itself: in 1968 he received the highest award at the Gifu Prefectural Art Exhibition and in 1971 he received the Governor’s Award at the Asahi Ceramic Exhibition for his strong yet sensitive blending of tradition and innovation.

Hayashi works in the tradition of Shino ware, first developed in Japan during the Momoyama period in the 16th century. His robust forms are complimented by a softness of surface that invites the viewer to relish the pleasures of the Shino technique. Here, we see the red rusty glaze at the top, its roughness reminiscent of mountain stone. The bottom of the vase is covered by a smooth organic collection of thick white glaze. The juxtaposition of these two textural surfaces—Hayashi’s signature style—enlivens the vessel, encouraging the touch of the viewer. Two ears attached at the top of the body of the piece bring balance to the whole. Here, Hayashi does not seek to recreate the traditional works of the Momoyama period, but rather to build upon that tradition through the use of modern techniques and contemporary materials.

Hayashi’s work stands out from that of other Mino potters for this heavy, thick, cream-like white glaze. In 1993 he received the highest award at the Mino Ceramic Exhibition, and in 2002 he was designated as an Important Intangible Cultural Property of Toki City. Like his work, Hayashi himself is a combination of strength and sensitivity. Strongly built and a commanding presence, he is also quiet and almost shy, allowing his works to speak for him.

林正太郎は、陶芸家の息子として育ちましたが、高校卒業後は商売の道を選びました。名古屋の企業に就職しましたが、サラリーマン生活では満足できず、故郷に戻って兄に陶芸を学びました。1968年には岐阜県美術展で最優秀賞、1971年には朝日陶芸展で知事賞を受賞するなど、その才能はすぐに開花しました。

林氏の作品は、16世紀の桃山時代に日本で初めて開発された志野焼の伝統を受け継いでおり、その堅牢なフォルムは、志野焼の技法の醍醐味を堪能できる柔らかな表面性を備えています。ここでは、上部の赤錆びた釉薬が山の石のような荒々しさを見せています。一方、底面には厚手の白い釉薬が滑らかに有機的に集まっています。この2つの質感が並置されていることで、器が生き生きとし、見る者の触覚を刺激します。胴体の上部に取り付けられた2本の耳が、全体のバランスをとっています。林氏は、桃山時代の伝統的な作品を再現するのではなく、現代的な技術と現代的な素材を用いて、伝統の上に立つことを目指しています。

林氏の作品は、他の美濃の陶芸家とは異なり、重厚で厚みのある、クリームのような白い釉薬が特徴です。1993年には美濃焼展で最優秀賞を受賞し、2002年には土岐市の重要無形文化財に指定されています。作品同様、林氏自身も力強さと繊細さを兼ね備えた陶芸家です。強靭な体格で圧倒的な存在感を示す一方で、寡黙で恥ずかしがり屋でもあり、作品が彼のすべてを物語っています。