"Raku" pottery is a term used for ceramic arts and crafts glazed in a low fire technique with deep traditions in Medieval Japan. The term is actually a rendition of the Rikyu family name, masters of the Japanese Tea Ceremony during the 1500's.

Korean potters employed in Japan for the production of roofing tile, discovered a process of removing ceramic pieces with iron tongs from red hot kilns, not waiting for the one to two day cooling down period. Surprisingly the pieces stayed intact and reflected interesting glaze affects previously unknown. Japanese potters, seeking alternatives to the highly refined Chinese ceramics imported for the Tea Ceremony, experimented with and mastered this technique for the creation of rough, spontaneous and organic surfaces for their pieces. The Rikyu Masters appreciated the natural form and finish of these works. The simple glazing and informal lines of this pottery reflected their teaching which began a reform of the Tea Ceremony during the 16th century. The Rikyu Masters emphasized the humility, oneness with nature and detachment from "worldly" concerns that the Tea Ceremony afforded its participants. Within a generation such pottery was so identified with their philosophy that it became known as Rikyu ware, later evolving to Raku. One translation of the word in Japanese is "happiness through chance". The Raku process suggests spontaneity and yielding to that which one cannot fully control.

Bisqued clay forms are glazed and then heated up to 1,750 degrees Fahrenheit very quickly, in 50-60 minutes. The pieces are taken out of the kiln with metal tongs. The potter must use protective gloves, clothing and caution throughout the process. The glowing red hot pottery pieces are then immersed in flammable material, such as newspaper, sawdust, leaves or pine needles, causing combustion. The fire is sealed...using garbage cans and lids most commonly...creating a reduction atmosphere in direct contact with the surface of the pieces, thus "reducing" the oxygen in the clay and glaze chemicals. The stress of the process leaves the crackle pattern associated with Raku. The reduction produces patterns of metallic color and texture. Finally, the pieces are immersed in water to "fix" colors and aid in the cleaning process. Spontaneity of fire, clay and the potter's skill guarantee constant surprises.

Paul Soldner, teaching at Claremont Colleges in Southern California, is credited with introducing Raku traditions to North America, following his work with Bernard Leach in England. Raku now forms a standard section of all ceramic curriculum. It has encouraged wonderful experiment and adventure in pottery.

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Raku Pottery, Robert Piepenburg
(Pebble Press, Farmington Hills, Michigan, 1972)
The Complete Potter's Companion, Tony Birks
(Bulfinch Press, London, 1993)