Born in 1919 (Taisho 8) as the eldest son of Yonekichi Shimaoka, a braid master of Atago in Tokyo.
He was moved by folk art and aspired to be a potter, and like Shoji Hamada, he created a unique beauty called "Jomon inlay" by thinking about pottery in Mashiko.
When he was in the third year of high school, he was impressed by the works of Kanjiro Kawai and Shoji Hamada, who he met at the Japan Folk Crafts Museum, and aspired to become a potter.
In 1940, he visited Hamada and was allowed to become a disciple, but the Pacific War broke out and he moved to Burma in 1943.
His passion for ceramics was strong, and he always carried Shino vessels with him.
After he survived in 1946, he studied under Hamada.
He set up his home and kiln in Mashiko in 1953, and in 1954 he set up his first kiln.
As he continued his pottery, the technique of Jomon inlay was born.
It was the silk braid made by his father that made it possible.
<Jomon inlay> was completed by embedding kudzu (white clay) in the string around which the braid can be wound.
His powerful and beautiful works using the Jomon inlay technique have been highly acclaimed in solo exhibitions at home and abroad.
In 1996, certified as an important intangible cultural property holder (folk art ceramics, Jomon inlay). Died in 2007

1919年（大正8年）、東京・愛宕の組紐師・島岡米吉の長男として生まれる。
民芸に心を動かされ陶芸家を志し、濱田庄司と同じく益子で陶芸を考えることで「縄文象嵌」という独特の美を生み出しました。
高校3年生の時、日本民館で出会った河井寛次郎と濱田庄司の作品に感銘を受け、陶芸家を志す。
1940年、浜田を訪れ弟子入りを​​許されたが、太平洋戦争が勃発し、1943年にビルマに渡る。
陶芸への情熱は強く、常に志野の器を持ち歩いていました。
1946年、生還後、浜田に師事。
1953年に益子に自宅と窯を構え、1954年に初窯,陶芸を続ける中で縄文象嵌の技法が生まれた。
それを可能にしたのは、父が作った絹の組紐だった。
＜縄文象嵌＞は、組紐が巻ける紐に葛（白土）を埋め込んで完成した。
縄文象嵌技法による力強く美しい作品は、国内外の個展で高い評価を得ています。
1996年、重要無形文化財保持者（民芸陶芸・縄文象嵌）に認定。2007年没