What Is Raku Called In English?

Raku is a type of Japanese pottery traditionally used for tea ceremony wares, especially tea bowls. The term “raku” refers to a low-firing pottery technique that produces a distinctive style of rough, hand-shaped ceramics.

The origins of raku ware can be traced back to 16th century Japan and the potter Chōjirō, who founded the artistic style under the patronage of Sen no Rikyū, the historical figure who solidified the aesthetics of the Japanese tea ceremony. According to the Raku Museum in Kyoto, Chōjirō developed innovative pottery-making techniques that produced unique tea bowls coveted for their rustic beauty and functionality ^[1].

Originally, raku ware was only made in Japan. But from the mid-20th century onwards, as Japanese pottery techniques spread internationally, ceramic artists around the world began experimenting with raku. Today, raku encompasses a variety of regional pottery styles defined by earthy, improvised forms and bold crackled glazes.

What Makes Raku Pottery Unique?

Raku pottery is defined by its unique low-fire technique. Unlike most ceramics that are fired to high temperatures and cooled slowly, raku ware is removed from the kiln and cooled rapidly while still glowing hot. This rapid cooling process causes the distinctive crackled, metallic glazes associated with raku.

Raku firing usually occurs at temperatures between 1475-1800°F, which is considerably lower than the over 2000°F temperatures of high-fire stoneware and porcelain. The fast cooling happens when the glowing hot pottery is removed from the kiln and placed into containers filled with combustible materials like sawdust or leaves. This thermal shock causes the glaze to crackle and craze as it contracts.

The low-fire technique combined with quick cooling gives raku pottery its one-of-a-kind crackled glazes and unpredictable results. Raku artists embrace the serendipitous effects of raku firing to create distinctive pottery unlike any other ceramic ware. The distinctive raku look comes from harnessing the effects of low-fire and rapid cooling.

Making Raku Pottery

Making raku pottery involves several unique steps compared to other ceramic techniques. The process starts with choosing the right clay and tools. Raku artists often use smooth, refined clay to allow quick sculpting of intricate or delicate forms. Some raku clays contain special additives like grog or combustibles to create desirable cracking effects during firing.

Once the clay is wedged and centered on the wheel, potters can shape bowls, vases, cups, and other vessels using standard wheel throwing techniques. Raku pieces tend to have thin walls to promote fast firing and cooling. Decorations like carvings, stamps, and glaze can be added before the bisque firing, which hardens the clay.

After bisque firing, the pottery is ready for applying special raku glazes. Common raku glaze ingredients include lead, copper, and other metals that interact with oxygen to produce unique colors and effects. The glazed ware goes into the raku kiln for a quick, hot firing that can take 10-60 minutes at temperatures around 1800°F.

Right when the pottery reaches peak temperature, it is removed from the kiln using long tongs. Some raku artists place the extremely hot pottery into containers of combustible materials like sawdust or leaves. This produces patterns of black carbon deposits on the surface. Finally, the pottery is left to cool rapidly outside the kiln, causing the glaze to crackle distinctively.1

Raku Firing Process

The raku firing process involves several key steps to achieve the distinctive look of raku pottery:

First, the pottery pieces are loaded into a kiln and fired up to around 1800-1900°F, which is the peak temperature for raku firing. The rapid heating of the kiln is important for creating raku’s unique effects. According to this source, the pottery only reaches peak temperature for a few minutes before being removed.

Once the pottery has reached peak temperature inside the kiln, it must be quickly removed and transferred to a reduction chamber or another container filled with combustible materials. This rapid transfer starves the pottery of oxygen, allowing carbon and smoke to permeate the clay and glazes. Typical materials used in the reduction chamber include sawdust, newspaper, or leaves.

Finally, the pottery goes through a controlled cooling process. Each piece is removed from the reduction chamber after a short period of reduction and then placed outdoors to cool. The cooling process can take 10-15 minutes. The rapid heating followed by quick reduction and cooling is what produces the distinctive crackled and iridescent finishes of raku pottery.

Distinctive Raku Glazes

One of the hallmarks of raku pottery is the distinctive glazes and surfaces achieved. Raku glazes contain special materials like copper, iron, and other metals that interact with oxygen during the quick cooling process to produce unique effects. Some key qualities of raku glazes include:

Crackle Glazes – The fast cooling and contracting of the clay body during raku firing causes specialized raku glazes to crackle. The spiderweb-like crackle patterns are part of the distinctive raku aesthetic. Controlling factors like glaze fit, thickness, and composition impacts the style of crackle.[1]

Metallic and Carbon Trapping Effects – Raku glazes often contain materials like copper, iron, and cobalt that interact with oxygen during firing and cooling to produce metallic colors and shimmering iridescent effects. Unburned carbon trapped in the glaze can also create spots or veining. The haphazard reduction effects are part of the unpredictable nature of raku.[2]

Matte and Iridescent Finishes – The rapid cooling can produce matte, crackled surfaces alongside glossy, iridescent finishes. Raku potters control the cooling time and atmosphere to create the blend of matte and iridescent areas they desire.

Raku Pottery Styles

Raku pottery originated in Japan during the 16th century and is associated with the Japanese tea ceremony. Early Japanese raku was often earthy and rustic in style with simple shapes and natural themes like birds, fish, trees or flowers. Glazes were subdued and matte in appearance. Common motifs included geometric shapes or textural patterns. The Japanese raku style is meditative and reflective of nature and imperfection (Source).

In the mid-20th century, American artists like Paul Soldner began experimenting with raku and developing their own unique styles that broke from the traditional Japanese aesthetic. American raku styles are often more abstract, incorporating bright colors and imprinting or embellishing the surface. The shapes tend to be more sculptural and unconventional compared to the more minimal Japanese forms. Glazes display bolder crackle effects and metallic finishes like copper and silver (Source).

Contemporary raku continues to push the boundaries of tradition through new glazing techniques, shapes, and firing methods. Raku today incorporates a range of global influences and artistic visions. Experimental raku artists find creative ways to manipulate the raku process to achieve unique abstract textures and smoke effects. The element of unpredictability and “controlled accidents” gives modern raku its spontaneous, organic aesthetic.

Notable Raku Artists

Raku pottery originated in Japan in the 16th century and is closely associated with the Raku family of potters. The style was founded by Chōjirō, who was born in 1516 and was honored by the ruling shogun. His son Jokei helped establish the Raku tradition of passing the family workshop secrets from father to son (https://chano-yu.com/famous-japanese-potters-and-marks/).

In the 20th century, influential raku artists like Kichizaemon Raku (1923-2021) helped popularize raku ware globally by exhibiting internationally. He was designated a Living National Treasure in Japan. Another famous Japanese raku artist was Ryu Shoryu (1907-1999), who became known for his Shoryu-yaki style featuring crackled glazes.

In the West, raku was brought to wider attention by Bernard Leach (1887–1979), a British potter who studied Japanese pottery. American Paul Soldner (1921–2011) made innovations in raku glazes and firing techniques in the 1960s. Contemporary raku artists like Steven Forbes-deSoule create distinctive vessels and sculptures using the raku process (https://stevenforbesdesoule.com/).

Raku in Art and Culture

Raku pottery is closely tied to the Japanese tea ceremony and has deep cultural roots. The style originated in the 16th century when the Japanese potter Chōjirō was commissioned by Sen no Rikyū, the historical figure who solidified the aesthetic principles of the tea ceremony, to produce tea bowls for the ceremony.

The irregular shapes, simple forms, and unglazed areas on raku ware reflect wabi-sabi, a central concept in the tea ceremony that values beauty in imperfection and transience. Raku bowls used in the tea ceremony are often repaired with lacquer mixed with gold, embracing the idea that imperfections and flaws contribute to character.

For centuries, raku ware has been passed down between generations and given as gifts on honorable occasions in Japan. Even today, traditional raku firing is treated as a meditative practice by potters who focus on mindful movements and remain fully present throughout the unpredictable process.

By preserving antique techniques but embracing creative expression, modern raku artists continue a storied tradition while pushing the boundaries of contemporary clay work.

Unusual Raku Techniques

While traditional raku ware features colorful glazes, some raku artists use alternative techniques to achieve distinctive effects. One unusual approach is naked raku, where the clay body is left unglazed. The pots are fired and removed from the kiln while extremely hot. When exposed to air, the naked clay can crackle or change color in dramatic ways. Artists like Susan O’Hanlon specialize in bare clay raku techniques that yield one-of-a-kind surface markings.

Another distinctive raku method involves introducing materials like horsehair during the firing process. When horsehair touches the hot clay, it burns and leaves behind carbon trails and patterns. The book Alternative Kilns & Firing Techniques explores unusual raku approaches like horsehair raku in depth. Artists can also experiment with smoking pots after firing by placing them in a container with wood chips, leaves, or other organic materials. The smoking process infuses the porous raku clay with carbon, resulting in darker colors and patterns.

While traditional raku glazing produces predictable effects, these alternative raku techniques add spontaneity and serendipity to the process. The raku firing process lends itself well to experimentation, and many innovative artists have pioneered new techniques over the centuries.

The Appeal and Legacy of Raku

Raku pottery has a rich legacy stretching back centuries, but it continues to evolve and inspire ceramic artists around the world. What gives raku its lasting appeal?

First and foremost is the striking visual contrast between the colorful glazes and dark, crazed surfaces of finished raku pieces. The unpredictable results from raku firing create a sense of spontaneity and chance. Raku also allows artists to explore avant-garde shapes and forms not possible with other techniques ^[1].

While honoring tradition, contemporary raku artists have taken the technique in new directions. They are creating innovative vessels, sculptures, and installations with raku. Artists are also expanding the palette of raku glazes and incorporating mixed media into raku art ^[2].

Originally from Japan, raku firing has spread across the globe. Workshops and apprenticeships have allowed the technique to cross borders. Today there are raku communities across Europe, the Americas, Australia and elsewhere. The internet has also enabled knowledge sharing about raku internationally.

Raku continues to captivate ceramic artists. They are drawn to the element of surprise in raku, and enjoy mastering its challenges. Raku’s tradition will surely be upheld, but innovation and experimentation will also advance this dynamic art form.