OBORI SOMA Yaki (Pottery) is said to have been first produced in the early Edo period (1690). The Soma domain, which ruled the region at the time, protected and fostered pottery making, and by the end of the Edo period, it had become the largest production area in the Tohoku region, with over 100 kilns.
During the Meiji era, the number of pottery kilns gradually decreased as some producers switched to other occupations. Currently, only 24 kilns continue to produce pottery. These kilns are preserving a 300-year tradition while striving to create new products for the 21st century.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The molding shall be done by wheel-throwing, press molding, or hand-turning.

   

  2. When applying patterns to the base material, the following techniques may be used: rivet application, mud application, sea surface application, chrysanthemum pressing, flower cutting, double layering, comb pattern, slip trailing, chamfering, sarup application, gluing, slip plane, cloth pattern, or brush pattern.

   

  3. Glazing shall be done by dipping, pouring, or coating. In this case, the glaze shall be "celadon glaze," "white flow glaze," "ash glaze," or "amber glaze."

   

  4. If painting is to be done, it must be done by hand.

   

  raw materials

  1. The clay used shall be Ohori clay, Kashima clay, or clay of equivalent quality.

  2. The ceramic stone used for the celadon glaze shall be Toyama stone or a material of equivalent quality.

• Work scene

  Work scene

  Let's take a look at the main production process of OBORI SOMA Yaki (Pottery).

  工程1： 成形

  In the pottery manufacturing process, the most important part is shaping. OBORI SOMA Yaki (Pottery) primarily uses the potter's wheel for shaping.

  

  Step 2: Shaving and finishing

  The semi-dried molded parts are then trimmed according to the product, including base trimming, outer trimming, and decorative carving such as fly-plane finishes.

  

  Step 3: Dough coloring

  Depending on the technique, there are methods such as removing flowers, applying mud, and pressing chrysanthemums when the clay is semi-dry, as well as carving when it is completely dry.

  画像をクリックすると動画が再生されます

  工程4： 乾燥

  If fresh products are dried too quickly, they may crack or warp during the drying shrinkage process. Therefore, they should first be air-dried in the shade before being sun-dried.

  

  Process 5: Bisque firing

  The completely dried pieces are placed in a kiln and fired at 900 to 950 degrees Celsius.

  

  Step 6: Underpainting

  On the absorbent surface of the unglazed pottery, paintings of horses, landscapes, pine, bamboo, and plum blossoms are created using a brush with a paint called gosu, which contains iron.

  

  Step 7: Glazing

  Apply the glaze using methods such as dipping, pouring, or rinsing.

  

  工程8： 本焼き

  The glazed pieces are placed in the kiln and fired at 1250 to 1300 degrees Celsius.

  

  Step 9: Overglaze painting

  After the final firing, some products are sold as is, while others are decorated with overglaze.

  画像をクリックすると動画が再生されます

  Step 10: Inking

  To clearly show the "cracks" in the finished product, ink is rubbed into it and wiped off with a cloth to complete the product.

  

   

• Close-up

  Close-up

  A chess piece dancing in ceramics: The artisan's skill overflowing with dynamism.

  OBORI SOMA Yaki (Pottery) has a history and tradition spanning over 300 years, dating back to 1690, when smoke rose from kilns in Ohori, a secluded kiln village at the foot of the Abukuma Mountains. We spoke with Akio Nagahashi of the Meigetsu Kiln about the traditional style and new developments.

   

  A galloping horse and the techniques of Hibi

  The Ohori district of Namie Town, Futaba District, Fukushima Prefecture, is nestled at the foot of the Abukuma Mountains. In this region, where the Takase River flows through the mountains of the Abukuma range OBORI SOMA Yaki (Pottery) was born during the Genroku era. Since flourishing as a specialty product of the Soma Domain, over the years, the representative symbols of OBORI SOMA Yaki (Pottery) such as the "running horse" and the "blue crackle ware" style, which features delicate cracks carved into elegant celadon, have emerged. In recent years, new works that are not bound by traditional styles have been created, but Mr. Nagahashi wants to be even more committed to tradition.
  The beautifully and powerfully running horse, known as "Hashirigoma," is depicted on almost all of the pottery. Why did people start depicting this horse? There are several legends about its origin. One of them is the Soma Nomaoi, a festival that is still representative of Soma today, in which a magnificent battle for the sacred banner takes place on horseback. The sacred horse, which enshrines Myoken-sama, truly embodies the majesty of a Kamakura samurai. Nagahashi's brushstrokes as he paints the running horse are swift, and the final ink wash adds even more dynamism. Another technique known throughout Japan for Soma ware is "Aohibi," where cracks form a net-like pattern across the entire surface of the pottery. "You really need this," Nagahashi says, handing a drawing of a horse to a customer on a piece of paper.

  

  "Running horse"

  Speed technique

  The speed at which they spin the potter's wheel is astonishing. In his father's generation, there was a time when they had to mass-produce beer mugs and coffee cups for export to America just to keep up with demand. In Ohori, there were even craftsmen who could spin 500 teacups a day. Mass production became a skill of the craftsmen. "When it comes to working speed, Ohori potters are the best in Japan," says Mr. Nagahashi. Stone has a natural "will." That's why you just have to learn it by feel. It is that sense of speed that gives OBORI SOMA Yaki (Pottery) its majestic and distinctive character.

  A meeting of tradition and new design

  "Traditional items are truly functional," says Mr. Nagahashi, holding a double-walled teacup, another characteristic of OBORI SOMA Yaki (Pottery). Two teacups of slightly different sizes are fired together to create a double-walled design, which keeps tea warm for longer and allows for a firm grip even when filled with hot water. This sensibility led to the creation of a new, practical design for everyday life: a natto bowl. Of course, the surface is adorned with "running horse" and "blue crackle" patterns, eloquently indicating that it is OBORI SOMA Yaki (Pottery) piece. This natto bowl allows you to firmly grip the handle with your left hand, providing stability and allowing you to knead natto with full force. The bottom of this type of bowl has notches so that you can also OBORI SOMA Yaki (Pottery), they are committed to creating tableware that is loved in everyday life.

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    Natto bowl

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    "Double-baked"

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    A magnificent painting of a running horse.

  A relationship built on trust

  In recent years, Ms. Nagahashi has also been focusing on introducing traditional techniques at traditional craft events in various prefectures. While demonstrating at the venues, she directly interacts with customers through pottery, allowing them to actually touch the clay and hold the finished pieces, spreading the joy of creating. There, she has encounters with a wide range of people, from adults interested in pottery to small children. Here at "Meigetsu Kiln," she also holds pottery classes, cherishing each and every encounter. "Isn't this kind of activity also an important part of traditional crafts?" says Ms. Nagahashi. Indeed, if you gather around the table with pottery that conveys the feelings of the friendly and artisanal Ms. Nagahashi, your breakfast and dinner tables will be truly enriched, and it seems as if stirring natto will be given a more enjoyable boost.

  

  Meigetsu Kiln

  Craftsman Profile

  Akio Nagahashi

  He took over the "Meigetsu Kiln," which had been in his family since his father's generation, at the age of 17, and currently contributes to community development as the chairman of OBORI SOMA Yaki (Pottery) Cooperative Association.

  

  Anecdotes

  Excellent design born from ease of use

  "Natto bowl"
  Another excellent item is the "natto bowl." It is said that Kitaoji Rosanjin, the famous natto maker, wrote about the secrets of kneading natto, saying, "The better you knead natto to make it stringy, the tastier it becomes, so you should not be lazy and knead it as much as possible." The "natto bowl" has a body that is slightly bulging to prevent the contents from spilling out, and it has a handle so that you can knead it with force. The handle is on the left for right-handed people and on the right for left-handed people. This gives you a proper way to knead natto, and you can knead it to make it stringy, just as Rosanjin taught. Originally, it was made by a potter for personal use because there was a custom of eating homemade natto on the first day of the New Year in Ohori. A good design born from custom. How about adding this to your daily natto-kneading supplies?

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    A natto bowl with a spout. Take it straight to the table!