You could say that the origins of raku pottery comes from the creation of a single cup for the tea ceremony. Chojiro, which represented the first generation of the Raku family during the Momoyama period (1573 - 1615), he met the Buddhist master Sen No Rikyu and began to create bowls for the tea ceremony (chanoyu). The first cup were called Ima-Yaki, letteralmnte "properties now," objects produced in a present time. Thereafter, the cups were renamed Yuraku-Jaki ie "cooked now," only later were called raku. The term raku means "joy and peace," then the term used for ceramics, also became the name of the families from generation to generation, devoted to the production of raku pottery. The ceremonial bowls are always shaped by hand without the help of the lathe, and this allows the artist to enter the field and form a close relationship with the object. To be faithful to the conception of the birth of raku you should always remember that creativity must not err on the excessive individualism. The teaching of Chòjrò through his conception of negation of movement, decoration and form, gives us a great lesson of art that goes beyond the expression of ego. He raised the cup for tea in a demonstration of abstract spirituality, in which anyone could enter. Balance of form, sublime expressions of simplicity and purity, these are the artistic canons of raku pottery.
RAKU IN WEST
The book Potter's book written by the English potter Bernard Leach in 1940, born in China, lived for many years in Japan, Raku pottery is known in the West. Now this technique was a good result, because different American potters came to Japan to study and see for yourself this unusual way of making pottery.
Thanks to the experiences of Warren Gilberston and Paul Soldner in the sixties in America this technique had a great development, traditional sculptors and potters began to experiment with ways to cook and cool their works, not being bound by rigid surfaces polychrome Zen philosophy took place in monochrome, the abrupt cooling in organic materials enriched the work of craquellè and shiny metal, so did the first variant, the RAKU "American." In 1990 in England are developing a new technique where matter predominates over clay and glaze enamels, the NAKED RAKU. In this variation are obvious references to techniques such as the primitive Etruscan Bucchero and Villanova, in fact, the staining is given exclusively by the color of the clay used to mold the artifacts and the smoke caused by materials organs used in cooling. The Naked is definitely the inspiration for another variant, known as Raku "sweet". In this technique, the references are definitely attributable to the Roman pottery coral-Arezzo .
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