Tobe Ware

Tobe ware is generally considered to be pottery produced primarily in the vicinity of Tobe town, Iyo city in Ehime prefecture. This area has been known for various types of ceramic production ever since Sue ware was first produced here in the Eighth century. Since the middle of the Edo period (1615-1868), the area has been celebrated as a location of ceramic production due to its advantageous location for ceramic kilns with its surrounding mountains and sloping ground. The Tobegawa river, which runs through the center of the area, aids in the production and transportation of the ceramic works, while supplying the power required for water turbines to pulverize raw materials. 

Historical records state that the very first successful kiln firing occurred in 1776 (An’ei 6), while the earliest excavated shard of porcelain found in an area kiln is dated to 1779 (An’ei 9).

Tobe ware in the Edo period began as earthenware, then developed to blue-and-white porcelain, eventually culminating in elaborately painted works with multi-colored overglazes. In the Meiji period, further inventive techniques were introduced establishing a multitude of styles.

Clay material, called “tōseki,” used in Tobe ware was locally mined at the base of Mt. Shōji.

Mined raw material, called “tōseki,” was pulverized with traditional machines and mixed into clay used for porcelain production.

Traditionally a potter’s wheel manually powered by a kick-wheel was used in the production of Tobe ware, but in 1950 (Shōwa 25) production transitioned to the use of an electrically powered potter’s wheel. The electric power potter’s wheel allowed for the use of plaster molds that standardized the process for mass production.

The Chinese grass motif, or “Karakusamon,” is one of the most traditional patterns used on Tobe ware. The motif generally looks as if it is standardized, but there are subtle variations in the design depending on the workshop. 

Initially the unglazed works are fired to 900-950 °C, and then fired again to 1300 °C after applying glaze. Historically, the works would have been fired in a climbing kiln built on a slope, but now it is common to use gas kilns. 

In 1954 (Shōwa 28), members of the studio pottery movement including Yanagi Muneyoshi, Bernard Leach, and Shōji Hamada visited the kilns at Tobe. They promoted the ideals of the movement that called for a return to handwork from the mechanization that had occurred in the modern era. 

A wide variety designs and styles make up contemporary Tobe ware including white porcelain, blue-and-white ceramics, celadon porcelain, and multi-colored overglazed pottery. From individual artisans to larger manufacturers, there are close to one hundred entities creating Tobe ware.

The center is directly operated by a Tobe ware kiln. The first floor includes an area that sells the latest works in Tobe ware, while the second floor is a studio where visitors may create their own piece of Tobe ware by using hand-building or potter’s wheel, along with traditional materials to decorate the works.