Vase with Horses, Somayaki circa 1830

This rare two-handled baluster vase from the late Edo period is a typical example of ?bori S?ma pottery. Its surface features hand-painted decoration depicting two horses, represented in the hidari-uma style, meaning “oriented to the left,” a symbol of exceptionality and good fortune, which can be interpreted as “having no equal.”

The horses are painted fluidly—one in white, the other in brown—and are depicted stationary in a style characteristic of the Kan? School, which blends pictorial tradition with fluidity.

The vase’s upper glaze, with a slightly greenish tint, reflects the use of celadon glazing techniques, also characteristic of this production. The back of the vase features stylized scrollwork.

The stoneware body of this vase also reveals masterful craftsmanship in wheel-throwing.

?bori S?ma Ware traces its origins back to the late 17th century in the present-day region of Namie, Fukushima, known for its horses. In 1690, Hangai Ky?kan, a vassal of the Nakamura clan, discovered suitable clays in ?bori and instructed his servant Sama to produce ceramic utensils for daily use. Thus began the tradition of this pottery, initially called simply S?ma Ware. During this early period, the ceramics were primarily utilitarian, but the introduction of motifs, particularly horse-related ones, dates to the early 19th century, thanks to Hantani Takisabur?. He specialized in ceramic painting, popularizing horse designs that reflected the equestrian traditions of the S?ma family.

Typically, these ceramics are adorned with a single galloping horse, a motif still used today. The double stationary horse design, as seen on this vase, is exceedingly rare and corresponds to the early phase of horse-decorated production.

During the Edo period, these pieces were highly valued for their quality and symbolism. The pottery was further distinguished by the patronage of local lords, who authorized the use of their crest, representing a horse, thereby enhancing the renown of these creations. However, during the Meiji era, with industrialization and the rise of mass-produced ceramics, this tradition nearly vanished before experiencing a revival after World War II.

Dimensions: 32 x 19 x 15 cm.