CRAFT STORIES | ASIA | JAPAN | CERAMICS 

The History of Japanese Raku Ware 

 

Teabowl, attributed to master and founder of Raku-Ware, Chojirō, early 17th century. © Metropolitan Museum of Art 

 

For over 450 years, the Raku family has meticulously crafted Raku ceramics, a tradition spanning 16 generations. Originating in Kyoto during the late 1570s, Raku ware—celebrated for its rustic elegance and tactile charm—continues to be hand-shaped and fired using techniques developed by the esteemed potter Chojiro. Freelance writer and Japan specialist, Sophie Richard, explores this enduring practice and profound commitment to a cultural heritage revered by tea devotees worldwide.

 

Raku is the name of a family dynasty that has been making Raku ceramics without interruption for over 450 years. In a remarkable illustration of the continuity of Japanese crafts, the current head of the Raku family is the 16th representative of the lineage. He stills works according to a method developed in Kyoto in the late 16th century.

The origins of Raku ware can be traced back to the late 1570s in Kyoto, when the seminal tea master Sen no Rikyu tasked a potter named Chojiro to make a tea bowl that would reflect his ethos of rusticity and modesty. Chojiro’s experiments in striking monochrome red and then black became highly sought after and the potter was granted the name Raku by Toyotomi Hideyoshi, the de facto ruler of Japan. Sober and tactile, Raku tea bowls have since then been admired by tea devotees.

Raku ware is shaped by hand, without using a wheel. As a bowl is formed, meticulous attention is paid to how it will sit in the hand, and to the rim, since it will be in contact with the lips. Raku bowls are straight-sided and present a broad base, to better accommodate the whisk for the beating of powdered green tea. They are typically glazed black, white or a light orange-red, but the foot is always left unglazed to reveal an area of pure clay. The glaze is applied with a brush. The bowls are placed in a saggar before being fired one at a time. They are briskly removed from the kiln chamber with tongs at the height of the firing, still glowing like incandescent magma, and left to cool rapidly in the outside atmosphere, a process that requires both physicality and intuition. Only a few tea bowls are fired every year, during two sessions taking place in April and in November.

Originally created for the tea ceremony, Raku ware is most commonly found in the form of a tea bowl yet it is not the only shape explored by Raku potters. Other types of objects used during tea gatherings, such as flower vases, tea caddies and incense containers, can also be produced.

Each Raku master has pursued individual research into form and style. This is particularly notable when it comes to glazing as instructions for glaze preparation are not passed down and each generation must discover its own. The current head of the lineage, Raku Kichizaemon XVI, was born in 1981 and succeeded his father in 2019.

The ideal place to see Raku ware and grasp its long tradition is the Raku Museum in Kyoto. It is located next to the ancestral Raku residence and its adjoining studio, a stone’s throw away from the Imperial Palace. The fine collection, featuring pieces by the successive generations of Raku potters, is a must-see for ceramics enthusiasts. Raku can also refer to a type of ceramics made by amateurs and professional potters all over the world, using a technique deriving from Japanese Raku practice.

"Recent tea bowls by the Raku Master Kichizaemon XV" as shown at Annely Juda Fine Art Gallery. © Sophie Richard

 

Words by Sophie Richard
Images from Sophie Richard and the Metropolitan Museum of Art

EXPLORE THE ATLAS

Join the Cabana family

×