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Raku ware
Raku ware (楽焼, raku-yaki) is a type of Japanese pottery traditionally used in Japanese tea ceremonies, most often in the form of chawan tea bowls. It is traditionally characterised by being hand-shaped rather than thrown, fairly porous vessels, which result from low firing temperatures, lead glazes and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air.
The Western version of raku was developed in the 20th century by studio potters. Typically wares are fired at a high temperature, and after removing pieces from the kiln, the wares are placed in an open-air container filled with combustible material, which is not a traditional Raku practice in Japan. The Western process can give a great variety of colors and surface effects, making it very popular with studio and amateur potters.
In the 16th century, Sen no Rikyū, the Japanese tea master, was involved with the construction of the Jurakudai and had a tile-maker, named Chōjirō, produce hand-moulded tea bowls for use in the wabi-styled tea ceremony that was Rikyū's ideal. The resulting tea bowls made by Chōjirō were initially referred to as "ima-yaki" ("contemporary ware") and were also distinguished as Juraku-yaki, from the red clay (Juraku) that they employed. Toyotomi Hideyoshi presented Jokei, Chōjirō's son, with a seal that bore the Chinese character for raku ("Enjoyment"). Raku then became the name of the family that produced the wares. Both the name and the ceramic style have been passed down through the family (sometimes by adoption) to the present 16th generation (Raku Kichizaemon XVI). The name and the style of ware has become influential in both Japanese culture and literature.
In Japan, there are "branch kilns" (wakigama), in the raku-ware tradition, that have been founded by Raku-family members or potters who apprenticed at the head family's studio. One of the most well-known of these is Ōhi-yaki (Ōhi ware).
After the publication of a manual in the 18th century, raku ware was also made in numerous workshops by amateur potters and tea practitioners in Kyoto, and by professional and amateur potters around Japan.
Raku ware marked an important point in the historical development of Japanese ceramics, as it was the first ware to use a seal mark and the first to focus on close collaboration between potter and patron. Other famous Japanese clay artists of this period include Dōnyū (grandson of Chōjirō, also known as Nonkō; 1574–1656), Hon'ami Kōetsu (1556–1637) and Ogata Kenzan (1663–1743).
It influenced Hōraku ware from Nagoya, Owari province in the later Edo period.
Bernard Leach is credited with bringing Raku to the west. In 1911 he attended a party where he witnessed raku firing. This was his first experience of ceramics. Although he continued to experiment with raku firing for a few years following his return to England in 1920, the technique was largely forgotten after the 1930s.
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Raku ware
Raku ware (楽焼, raku-yaki) is a type of Japanese pottery traditionally used in Japanese tea ceremonies, most often in the form of chawan tea bowls. It is traditionally characterised by being hand-shaped rather than thrown, fairly porous vessels, which result from low firing temperatures, lead glazes and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air.
The Western version of raku was developed in the 20th century by studio potters. Typically wares are fired at a high temperature, and after removing pieces from the kiln, the wares are placed in an open-air container filled with combustible material, which is not a traditional Raku practice in Japan. The Western process can give a great variety of colors and surface effects, making it very popular with studio and amateur potters.
In the 16th century, Sen no Rikyū, the Japanese tea master, was involved with the construction of the Jurakudai and had a tile-maker, named Chōjirō, produce hand-moulded tea bowls for use in the wabi-styled tea ceremony that was Rikyū's ideal. The resulting tea bowls made by Chōjirō were initially referred to as "ima-yaki" ("contemporary ware") and were also distinguished as Juraku-yaki, from the red clay (Juraku) that they employed. Toyotomi Hideyoshi presented Jokei, Chōjirō's son, with a seal that bore the Chinese character for raku ("Enjoyment"). Raku then became the name of the family that produced the wares. Both the name and the ceramic style have been passed down through the family (sometimes by adoption) to the present 16th generation (Raku Kichizaemon XVI). The name and the style of ware has become influential in both Japanese culture and literature.
In Japan, there are "branch kilns" (wakigama), in the raku-ware tradition, that have been founded by Raku-family members or potters who apprenticed at the head family's studio. One of the most well-known of these is Ōhi-yaki (Ōhi ware).
After the publication of a manual in the 18th century, raku ware was also made in numerous workshops by amateur potters and tea practitioners in Kyoto, and by professional and amateur potters around Japan.
Raku ware marked an important point in the historical development of Japanese ceramics, as it was the first ware to use a seal mark and the first to focus on close collaboration between potter and patron. Other famous Japanese clay artists of this period include Dōnyū (grandson of Chōjirō, also known as Nonkō; 1574–1656), Hon'ami Kōetsu (1556–1637) and Ogata Kenzan (1663–1743).
It influenced Hōraku ware from Nagoya, Owari province in the later Edo period.
Bernard Leach is credited with bringing Raku to the west. In 1911 he attended a party where he witnessed raku firing. This was his first experience of ceramics. Although he continued to experiment with raku firing for a few years following his return to England in 1920, the technique was largely forgotten after the 1930s.