If we talk about the golden age of the Japanese Tea Ceremony between the 16th and 19th centuries (1550–1850), it must be said that this was a period when the Way of Tea profoundly influenced the lives and spirits of the Japanese people. And the essential element created alongside it to complete this serene ritual was the "tea bowl" (Chawan).
In the early days, Japanese tea masters predominantly used Tenmoku tea bowls imported from China, along with earthenware from Korea. A significant turning point occurred when Chojiro, a skilled potter, was commissioned to create Raku Ware. From then on, various forms of pottery became widely used in the Way of Tea.
This led to the ancient Japanese adage: “Raku first, Hagi second, Karatsu third” (Raku is the best, followed by Hagi, and Karatsu).
This saying clearly confirms that Raku tea bowls were recognized and revered as the most perfect and valuable tea bowls in the tea ceremony.
Origin and Legacy of Firing Techniques
Raku ware incorporates and draws inspiration from the Sancai (three-color glazed pottery) techniques of China's Tang dynasty, early Persian earthenware, and Italian Majolica pottery.
Historical evidence suggests that Raku firing and glazing techniques evolved from Chinese Sancai pottery, which flourished and spread to the Fujian province during the 12th–13th centuries. Japanese potters then continuously adapted the forms, production techniques, and firing processes, transforming them into a unique style.
The Heart of Raku Ware: Hand-Built, Touched by the Heart
The most distinctive characteristic of Raku tea bowls lies in their hand-building process and the special firing in a unique kiln.
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Formed from a single slab of clay: The potter begins by flattening the clay into a circular disc. Then, using both palms, they gently support and press the clay to curve it into the shape of a tea bowl in their hands. Finally, the rim of the bowl, which rises above a circular wooden board, is finished.
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A distinct philosophy of potting: Unlike throwing on a potter's wheel, which uses centrifugal force to pull clay from the center outwards, Raku uses a method of supporting and pressing the circular clay slab from the outside towards the center. This results in each tea bowl having a natural, unique shape, making it one of a kind.
The Secret of Firing and Charming Hues
Although many often assume that Raku ware is low-fire ceramics, in reality, black Raku ware requires temperatures exceeding 1,200 degrees Celsius, so it cannot simply be classified as low-fire exclusively.
Broadly, the Raku family divides its pottery into two main types: red Raku and black Raku (in some periods, three glazes—white, green, and yellow—were also adapted). The Raku family has strictly preserved ancient firing methods for over 400 years, using two distinct kilns—one for red Raku and another for black Raku.
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Red Raku: The warm red color results from the reaction of iron minerals in the clay during firing. Historically, the glaze contained lead, but today, frit is used for safety. The main components of the glaze are quartz, feldspar, and added frit to control the melting point, resulting in surfaces that can be clear, opaque white, or semi-translucent.
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Black Raku: Its richness and depth come from key ingredients like natural stones collected from the headwaters of the Kamo River in Kyoto.
The Legacy of Clay: Passing Down Value for Over 400 Years
Beyond its unique forms and glazes, another vital heart of Raku ware is the "clay" itself, which has been carefully preserved and passed down through generations. Raku potters meticulously seek out and conserve the most pristine natural clay sources, preparing them for future descendants.
For example, Kishichaemon Raku, the 15th generation successor of the Raku family, has used clay that Konyu Raku, the 2nd generation and his great-great-grandfather, prepared and preserved for over 100 years for contemporary works. This clay has thus been gradually accumulated and passed down, not just for their own generation's use, but to be conserved as a legendary Japanese craft heritage for generations to come, a hundred years from now.