Obori Soma Ware

  • Ceramic
  • Fukushima

Obori Soma Ware Obori Soma Yaki

Obori Soma Ware is known for its distinctive aohibi crackle pattern beneath a celadon glaze and its dynamic hand-painted hashirigoma running-horse motif. Its unique double-walled construction also helps retain heat while keeping the exterior comfortable to hold, combining decorative beauty with practicality. It was designated a Traditional Craft by the Japanese government in 1978.

Description

What is Obori Soma Ware ?

Obori Soma Ware is a traditional pottery originating in the Obori area of Namie Town, Fukushima Prefecture. It is especially known for three distinctive features: a fine crackle pattern known as ao-hibi, the dynamic hashiri-goma horse motif, and a double-walled construction called niju-yaki. In 1978, Obori Soma Ware was designated as a Traditional Craft by the Japanese government.

Ao-hibi is created by fine crazing that develops across the celadon-glazed surface because the clay body and glaze contract at different rates during and after firing. As the ware cools, the glaze may produce clear crackling sounds known as kannyu-on. Ink is later worked into the fine lines to make the pattern more visible.

Another characteristic is hashiri-goma, a motif depicting a running horse. Reflecting the long cultural connection between the Soma region and horses, the design is painted with quick, confident brushwork that conveys a sense of movement. In addition to celadon glaze, ash, amber-colored, and white-flowing glazes are also used.

Obori Soma Ware is also known for niju-yaki, a distinctive double-walled construction. Because there is a space between the inner and outer walls, less heat is transferred to the exterior, making vessels containing hot drinks easier to hold.

The Great East Japan Earthquake and the Fukushima Daiichi nuclear accident in 2011 forced all kilns in the Obori area to evacuate. Many potters later reestablished their workshops in other parts of Fukushima Prefecture and beyond. In 2021, the Obori Soma Ware Cooperative opened a workshop and exhibition space at the Namie no Waza Nariwai-kan facility in Namie Town. Today, artisans continue to preserve the traditional techniques while producing pottery in new locations.

History

The origins of Obori Soma Ware are traditionally traced to the Genroku era, from 1688 to 1704, during the early Edo period. In Obori Village, then part of the Soma domain, Hangai Kyukan is said to have recognized the pottery skills of a man named Sama and had him produce bowls using locally available clay. These wares were decorated with horse motifs and sold locally, marking the beginning of the pottery tradition.

The Soma domain subsequently encouraged pottery as a regional industry by supporting craftspeople, training potters, and promoting production. Pottery making spread from Obori to neighboring villages and became an important secondary occupation for local farming households. By the late Edo period, more than 100 kilns are said to have operated across eight villages, with products distributed throughout a wide area. Celadon glazing, now one of the defining characteristics of Obori Soma Ware, also developed during this period.

With the abolition of the feudal domains in the Meiji period, official support ended and competition with other pottery-producing regions increased, leading to a decline in the number of kilns. At the same time, local potters developed new techniques and designs to distinguish their work. Gold-painted horse motifs became more common during the middle of the Meiji era, and the distinctive double-walled niju-yaki technique is said to have been developed by the potter Sakamoto Kumajiro toward the end of the period.

During the Taisho era, kiln improvements and other technical developments modernized production, while vessel forms, glazes, and decoration continued to evolve. Production suffered severely during the wartime years, however, as craftspeople were mobilized and materials became difficult to obtain.

After World War II, returned soldiers and repatriates helped revive production. By the 1950s, double-walled cups were being exported to the United States, where they were marketed as “idea cups” and “double cups.” On February 6, 1978, Obori Soma Ware was designated as a Traditional Craft by the Japanese government.

The Great East Japan Earthquake and the Fukushima Daiichi nuclear accident in 2011 forced the residents and potters of the Obori area to evacuate. Traditional sources of Toyama stone, formerly used as a principal ingredient in the characteristic celadon glaze, also became difficult to use. Potters therefore experimented with new materials and glaze formulations as they rebuilt production in new locations.

In 2021, the Obori Soma Ware Cooperative established a new workshop, gallery, and office at the Namie no Waza Nariwai-kan facility in Namie Town. Today, potters working in different locations continue to collaborate with the Namie-based cooperative to preserve traditional skills, train future craftspeople, and develop new products.

Production Process

  1. 1. Molding The first step is molding. Obori Soma Ware is mainly molded with a lathe. In order to make a double-layered heating structure, the dimensions and shape of what will become the interior and exterior must be taken into account.
  2. 2. Shaving Pieces that are still in a half-dried state have the foot or exterior planed depending on the product that is being produced. Also the pieces are decorated using techniques like a "jumping plane". The jumping plane is when a spatula-shaped hand planing tool is used to apply scratch-like patterns to the surface while the article is rotating on a lathe.
    The inner item is placed inside the outer piece, and the cast is completed by pasting the mouth of the vessel.
  3. 3. Coloring of unglazed pottery Half-dried cast pieces are colored with hananuki (flower plucking), mud coating, or chrysanthemum pattern application depending on what the product will become. Once the articles are completely dried, they are also engraved.
    A red color is added with an iron containing mud called sarupo. There is a heart-shaped decoration which is called plover or shorebird.
  4. 4. Drying Next is the drying process. Drastic drying causes cracks or warping, so pieces are first dried in the shade before being dried under sunlight.
  5. 5. Bisque firing Once dried, the pieces are fired in a kiln at a temperature of 900 to 950℃ (about 1652 to 1742℃). Bisque firing refers to the initial heating at high temperature inside a kiln or furnace, before any glaze is applied.
  6. 6. Undercoating Items that have been through the bisque firing process have improved water absorbency. Then they are given an undercoating with paint consisting of an iron and cobalt compound known as asbolite. The typical picture is of a running horse, but there are also subjects like mountains, rivers, pine, bamboo, and plum.
  7. 7. Glazing Enamel is applied to the pottery by techniques of dipping, rotating, and pouring.
  8. 8. Glaze firing Articles coated with enamel are placed inside the kiln, and glaze firing is carried out at a high temperature of around 1250 to 1300℃ (about 2282 to 2372℉).
  9. 9. Overcoating Some pieces are sold as products once the glaze firing has finished, but others have an overcoating applied.
  10. 10. Dyeing Finally, in order to make the crack pattern in the entire piece stand out, ink is applied and wiped off with a cloth.

Facility Information

Namie no Waza Nariwai-kan – Obori Soma Ware Corner

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