RAKU YAKI Bowls - Avantgarde to Tradition (One-of-a-kind)

[KIRAI] KASEYU KURO CHAWAN - Rikyu GONOMI (handcrafted): $2,680.00 (One-of-a-kind / Now Available)
This KASEYU KURO CHAWAN - Rikyu GONOMI is a genuine Matcha bowl, following the traditional Raku-yaki method. Formed by a traditional method, which does not use a potter's wheel, the bowl is simple...

[KIRAI] AKA CHAWAN - ISO no SHIRABE (handcrafted Matcha Bowl): $2,180.00 (One-of-a-kind / Now Available)
This AKA CHAWAN is quite unique work, which is made with an avant-garde spirit while strictly adhering to traditional Raku-yaki techniques. ISO no SHIRABE means the quiet lapping of the waves on the rocky shore. The translucent white glaze, specially formulated, envelops the Matcha bowl like a wave that comes and goes....

[KIRAI] SHIRO CHAWAN - TSURUGIDAKE (handcrafted Matcha Bowl): $1,980.00 (One-of-a-kind / Now Available)
TSURUGIDAKE is a famous mountain range in Japan, about 3,000 meters above sea level. This mountain in Toyama Prefecture is one of the few mountains in Japan with an existing glacier. TSURUGIDAKE means "Mountain of Swords" and its steepness is so extreme that it has been said....

[KIRAI] RANSAI CHAWAN (handcrafted Matcha Bowl): $1,980.00 (One-of-a-kind / Now Available)
RANSAI means indigo blue color. This unique noble blue color is completely original to the artisan, Kyoshitu Sasaki. While based on RAKU-yaki's traditional style, this masterpiece is the result of his constant research and challenge, and is filled with the latest ideas at the moment.....

[KIRAI] TANSAI AKA CHAWAN - YOSHINO no SAKURA (handcrafted): $2,180.00
(Sold / Not Available)

[KIRAI] ORIBE CHAWAN (handcrafted Matcha Bowl): $1,980.00
(Sold / Not Available)

Traditional RAKU YAKI Bowls (Continued Sales)

[Shouraku] KURO MAKUGUSURI CHAWAN (by Shouraku III): $951.00 (Now Available)
This is one of the best quality and most elegant Matcha bowls in Japan, which creates an atmosphere that attracts every viewer.Your eye will immediately focus on the side of this piece where the glaze flows down from the rim in a very WABI- SABI style. ...

[Shouraku] AKA MAKUGUSURI CHAWAN (by Shohraku III): $812.00 (Now Available)
This is one of the best quality and most elegant Matcha bowls in Japan, which creates an atmosphere that attracts every viewer.Your eye will immediately focus on the side of this piece where the glaze flows down from the rim in a very WABI- SABI style....

[Shouraku] SAMIDARE (handcrafted Matcha Bowl): $592.00 (Now Available)
SAMIDARE means early summer rain in Japanese. It is said that the name derives from the surface tint which looks like calm rain in early summer season. This work is calm but gives a profound and strong feeling...

[Shouraku] MUKIGURI (handcrafted Matcha Bowl): $592.00 (Now Available)
MUKIGURI Matcha bowl has a very unique shape, and was unprecedented at the time it was first created by Chohjiroh Raku. Such a creative work is not seen even among the works of Chohjiroh Raku who had left many works in the world...

[Shouraku] SHICHIRI (handcrafted Matcha Bowl): $449.00 (Now Available)
The sides of this piece are deliberately and boldly whittled away. It evokes a very powerful impression, as though we are gazing upon a great rocky cliff. The foot of this bowl is intentionally finished low and the scene from the bottom to the middle of the side is sublime and tension-filled...

[Shouraku] FUJISAN (handcrafted Matcha Bowl): $449.00 (Now Available)
This FUJIYAMA matcha bowl is created after the original by Kohetsu Honami (1558 to 1637), one of the three great ancestors of Raku Yaki.It is said that FUJISAN is Kohetsu Honami's most treasured creation....

[Shouraku] OTOKOZE (handcrafted Matcha Bowl): $397.00 (Now Available)
The form of this bowl faithfully reproduces the original work of Kohetsu Honami. Kohetsu is famous for producing novel and avant-garde works. The round shape like this OTOKOZE bowl is a textbook example. Its form and size surprisingly fit into both hands when drinking Matcha, in contrast with the unique and novel appearance...

Representative head of the Raku family and the persons concerned

Chohjiroh, the founder (? - 1589)

Chohjiroh founded Raku-yaki under the guidance of Sen no Rikyuh, who established Wabi-cha. His unique works reflect most directly the ideals of WABI SABI affected by Sen no Rikyuh. His works are quite simple, since he negated movement, decoration and variation of form and individuality. However, his works have intense presence.

• SHUNKAN (Important cultural assets)

  

  His unique work reflects directly the ideals of WABI SABI.
  Source of photo (Cultural Heritage Online): http://bunka.nii.ac.jp/index.php

• TAROHBOH (Important cultural assets)

  

  His work is quite simple.
  Source of photo (Cultural Heritage Online): http://bunka.nii.ac.jp/index.php

• NISAISHISHI (Important cultural assets)

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

Johkei, the second generation (? - 1635)

After the death of Chohjiroh, he directed the Raku workshop and founded the base of the Raku-yaki continuing until today. Since the age of Johkei, each generation has succeeded to the name "Kichizaemon". His work has more movement and variation of form, which was never found in the works of Chohjiroh.

• KUROKI

  

  His work has more movement and variation of form.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• KIKUMON

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• YUHSAISHISHI

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

Nonkoh, the third generation (1599 - 1656)

Born the eldest son of Johkei, he is also known as Dohnyu and considered as the most skillful potter of the Raku family. He was in close friendship with Kohetsu Honami and it is said that his novel works were affected by Kohetsu. He introduced the decorativeness and spontaneous individuality into the tradition of Chohjiroh that eliminated decoration especially by the application of white or transparent glazes on top of the black glaze.

• KINOSHITA

  

  NONKOH is considered as the most skillful potter of the Raku family.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• SOHJYOH

  

  He introduced decorativeness and spontaneous individuality into the tradition of Chohjiroh.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• NUE (Important cultural assets)

  

  It is said that his novel works were affected by Kohetsu.
  Source of photo (Cultural Heritage Online): http://bunka.nii.ac.jp/index.php

Kohetsu Honami (1558 - 1637)

Kohetsu Honami was born into a prominent merchant family in Kyoto professionally engaged in the forging and connoisseurship of swords. He was a typical man of culture of his period, developing various cultural activities. In 1615, Kohetsu started making Raku-yaki assisted by Johkei and Nonkoh. His works are known for their spontaneity absent of restriction.

• MURAKUMO

  

  His works are known for their spontaneity absent of restriction.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• TATSUMINE

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• FUJISAN (National treasure)

  

  Source of photo (Sunritz Hattori museum HP): http://www.sunritz-hattori-museum.or.jp/

• Aka-raku TSUTSUCHAWAN

  

  Source of photo (Cultural Heritage Online): http://bunka.nii.ac.jp/index.php

• Kohetsu Honami

  

  Kohetsu Honami who is known as the Japanese Leonardo da Vinci because he mastered various fields.

• Letter written by Kohetsu

  

  Letter written by Kohetsu to Johkei, short and simple text is showing their close relationship.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

Keinyuh, the eleventh generation (1817 - 1902)

He was adopted into the Raku family as son-in-law and succeeded as the 11th generation in 1845. The period he lived through was an age of transition from feudalism to the modernization introducing the modern cultural prospects from the West, as traditions like tea culture steadily declined. Under such unfavorable circumstances, Keinyuh vigorously made a variety of works which are supported by high quality of artifice as well as a poetic sensibility.

• Kuro-raku by Keinyuh

  

  Keinyuh made a variety of works supported by high quality of artifice and a poetic sensibility.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• Aka-raku by Keinyuh

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• Incense burner in shape of goose

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

Kichizaemon, the present head of Raku family (1949 - )

After he graduated from the Sculptural Department at the Tokyo University of Fine Arts in 1973, he went to Italy for further studies. He succeeded as the 15th generation Kichizaemon in 1981. He stepped further forward in the modern interpretation of Raku-yaki, though keeping the fundamentals of the tradition. His avant-garde style is characterized by the sculptural modeling achieved by bold trimming.

• SHUHGIKU

  

  Kichizaemon stepped further forward in the modern interpretation of Raku-yaki.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• JYOKA

  

  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• RIKA

  

  His avant-garde style is characterized by the sculptural modeling achieved by bold trimming.
  Source of photo (Raku museum HP): http://www.raku-yaki.or.jp/index.html

• Kichizaemon Pavilion

  

  He also designed architecture and tea room of Kichizaemon Pavilion at Sagawa Art Museum.
  Source of photo (Sagawa Art Museum HP): http://www.sagawa-artmuseum.or.jp/

• Tea room designed by Kichizaemon

  

  Source of photo (Sagawa Art Museum HP): http://www.sagawa-artmuseum.or.jp/

• Tea room designed by Kichizaemon

  

  Source of photo (Sagawa Art Museum HP): http://www.sagawa-artmuseum.or.jp/

Pugging process

The clay of Raku-yaki is produced by mixing clay with materials such as silica sand and the mineral petalite, which will not break in the high temperature kiln.
Raku-yaki was born in the city center of Kyoto. General earthenware, on the other hand, was born in the region which produced clay suitable for earthenware. Raku-yaki is produced only for Cha-no-yu traditional tea ceremony, unlike general earthenware, which developed as an industry. For this reason, it can be said that Raku-yaki is a highly cultural art.
Clay is ordinarily mixed by machines, however to create excellent works like one-of-a-kind Raku-yaki, the clay is mixed by hand to avoid fluctuation in quality. Even skilled craftsman can produce only about 8kg of mixed clay by hand. The machines, on the other hand, can produce about 200kg of it at the same time.
It is said that it takes more than three years to acquire pugging skill. The clay is allowed to rest for about one week after mixing.

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  Clay of Raku-yaki is produced by mixing clay with materials which will not break in the high temperature kiln.

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  Clay is ordinarily mixed by machines, however to create excellent works clay is mixed by hand to avoid fluctuation in quality.

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  It is said that it takes more than three years to acquire pugging skill.

Forming process

Raku-yaki is formed by hand without using the potter's wheel. The forming method is called TEDUKUNE. The earthenware created by TEDUKUNE is not seen in representative Japanese earthenware except for Raku-yaki. Skilled craftsmen can determine the weight of one piece only by hand, not using a scale.
Unlike ceramics mass produced by industrial machines, craftsmen following the TEDUKUNE method can ensure that each piece has a desirable hand feel and texture as they create each work individually by hand. This makes it possible to create the excellent Matcha bowl which is most suitable for tea ceremony. Since there is a limit to the depth that can be produced by hand (the hollow of the hand), to express originality and uniqueness in the limited cubic volume is the main attraction and aesthetic of Raku-yaki. Raku-yaki is also ordinarily formed asymmetrically and the rim is also not flat but uneven due to TEDUKUNE forming. The unique shape clearly indicates the characteristics of genuine Raku-yaki. It is thought that the characteristics are the foundation of the Cha-no-yu tea ceremony and reflect the Japanese aesthetic.

After drying for about three days, the base called KOHDAI is attached to the bottom of the bowl by using adhesive clay. This is a very difficult and delicate process even for skilled craftsmen since the KOHDAI can easily separate from the bowl during firing in the kiln if it is insufficiently attached. Next, the bowl is trimmed, after drying about three days to one week.

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  Skilled craftsman can determine the weight of one piece only by hand, not using a scale.

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  Raku-yaki is formed by hand without using the potter's wheel.

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  Craftsman can ensure that each piece has a desirable hand feel and texture as they create each work individually by hand.

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  The base called KOHDAI is attached to the bottom of the bowl by using adhesive clay.

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  This is a very delicate process even since the KOHDAI can easily separate from the bowl during firing in the kiln.

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Trimming process

Trimming is one of the most important processes to determine the quality of works. It is said that it takes more than ten years to learn to produce even a practice Matcha bowl, not for tea ceremony. Each craftsman owns several original trimming tools like a metal spatula and trims the works using the optimal one. Not only the surface but also the inside of the bowl is trimmed and each hollow called CHAKIN-ZURE, CHASEN-ZURE and CHA-DAMARI* is formed by trimming. These are features of traditional Raku-yaki. While considering the usability and thickness of the glaze, the craftsmen carefully scrape. This is also a difficult and delicate process since the bowl can easily break if an area was milled too much. Craftsmen shape the works imagining the final form.

(*) CHAKIN-ZURE means the point where cloth used in the tea ceremony rubs, CHASEN-ZURE means the point CHASEN Bamboo Whisk rubs, and CHA-DAMARI means tea pool in Japanese. CHAKIN-ZURE is the curved place near the rim, CHASEN-ZURE is the curve inside the bottom of the bowl, and CHA-DAMARI is the bottom point in which CHA tea gathers.

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  Trimming is one of the most important processes to determine the quality of works.

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  Each craftsman owns several original trimming tools and trims the works using the optimal one.

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  While considering the usability and thickness of the glaze, the craftsmen carefully scrape.

Glazing process

KAMOGAWA stones, which are mined at the upper courses of the KAMO river, a famous river in Kyoto, are used for the glaze of traditional Kuro-raku black Raku-yaki. KAMOGAWA stones contain iron and the iron creates the beautiful and unique black color characteristic of Kuro-raku, which appears during reduction firing. When fired by low melting, calm and faded color appears. The color is found predominantly in the works of Chohjiroh, the founder of the Raku family. When fired by high melting, on the other hand, glossy and lustrous color appears. Craftsmen use different melting points depending on their intention.
Earthenware is not glazed only one time but overglazed four to five times over a period of days. This process creates the ideal surface texture and produces elegant and graceful works.
Transparent glaze is used for Aka-raku red Raku-yaki unlike Kuro-raku, since the red color of Aka-raku appears from the clay, which contains ocher, itself. Thus, to enjoy the noble and excellent red color becomes possible.

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  Raku-yaki is carefully and elaborately glazed by writing brush.

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  Earthenware is not glazed only one time but overglazed four to five times over a period of days.

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  KAMOGAWA stone is used for the glaze of traditional Kuro-raku black Raku-yaki.

Firing process

Kuro-raku is created by firing in a kiln heated to about 1200C (2192F) to melt the glaze completely. It takes about five hours to raise the temperature of the kiln.
After about one minute, which is required to melt the glaze, Kuro-raku which is red hot due to high temperature is taken out from the kiln. The glaze sets at the moment it is taken out from the kiln, and the track of the tongs used to remove the hot Raku from the kiln, called YATTOKO-ATO, remains on the inside and outside of the bowl. This is proof of genuine Raku-yaki produced by traditional Raku-yaki methods. Kuro-raku is commonly fired in the gas kiln, which is burning since it is colored by reduction firing.
Aka-raku, on the other hand, is created by firing in a kiln heated to about 800C (1472F). Aka-raku is commonly fired in an electric kiln which is not burning since it is colored by oxidation firing. Thus, noble and excellent red color is created from the clay itself.
KANNYU, cracking patterns on the surface, is one of the main features of Aka-raku. The KANNYU cracks form a lattice, the size and spacing of which are determined by the timing of cooling in water. If the bowl is quickly imbibed in water just after removal from the kiln, the size of the KANNYU lattice is finer than one cooled slowly. A skillful craftsman will judge the right timing for the work by only the sound of cracking.

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  Kuro-raku is commonly fired in the gas kiln, which is burning since it is colored by reduction firing.

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  Kuro-raku is created by firing in a kiln heated to about 1200C (2192F) to melt the glaze completely.

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  Kuro-raku which is red hot due to high temperature is taken out from the kiln.

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  YATTOKO-ATO is the proof of genuine Raku-yaki produced by traditional Raku-yaki methods.

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  After taken out from the kiln, Raku-yaki is cooled in water to set glaze completely.

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