mel jacobson on wed 28 mar 07
OVERSEAS RAKU WARE
"Raku ware initiated by Chojiro (1574), who=20
exclusively made tea bowls for the tea ceremony=20
at the request of Sen no Rikyu, was from the very=20
beginning highly individualistic, and therefore=20
the name of the ware has been traditionally used=20
as the potter's family name. As time passed. not=20
only have the number of potters besides the Raku=20
family who engage in making Raku tea bowls=20
increased but also many amateur potters now enjoy making Raku ware.
Under these circumstances,the name Raku, which=20
was originally carried only by the Raku family,=20
has now been established as a more general term=20
for a type of ceramics. Today it has even become=20
known worldwide thanks to a number of=20
professional and amateur potters in America as=20
well as in European and Asian countries who=20
practice Raku firing. This Raku ware made=20
overseas demonstrates a variety of expressions=20
free from historical context as well as from the=20
traditional style cherished in Japan.
The characteristic of this foreign-made Raku ware=20
is that it is basically fired at=20
low-temperatures. and removed to be cooled down=20
immediately outside the kiln, or is otherwise put=20
inside the kiln again for re-firing. It is of=20
course impossible for high-fired ceramics to be=20
removed and replaced during=ADfrings. Because of=20
this peculiarity of Raku firing, the=20
possibilities of developing new firing and=20
glazing techniques were greatly enlarged, and=20
various unique methods are nosy- being employed=20
hoth in America and Europe. For example, taking=20
full advantage of the spontaneity and immediacy=20
of Raku firing, improvised re-glazing of a pot=20
can be experimented with during the firing=20
process: alternatively. a pot removed from the=20
kiln can be immersed in leaves to achieve an=20
immediate partial reduction or to produce changes=20
through carbonization. Not only leaves but also=20
sawdust, oil, or even printed materials, all of=20
which produce different chemical reactions, can=20
be used to achieve various accidental effects.
One thing, however, that should be mentioned here=20
is that the technical experiments mentioned above=20
are never practiced in traditional Raku firings=20
in Japan. The piece removed from the kiln gets=20
cooled down at room temperature without any=20
special treatment. The firing is done only once.=20
apart from the biscuit firing: re-firing has=20
never been practiced in Japanese Raku ware.
Thanks to easy access to fire-proof kiln=20
materials, recently more and more people are=20
enjoying Raku firings worldwide. In the future.=20
even more inventive ideas and technical=20
developments will allow further creative possibilities.
It is natural that along with such developments=20
this new raku will continue to takequite a=20
different direction from that followed by=20
traditional Raku ware. On the ether hand. One=20
also has to realize that some misunderstandings=20
of Raku ware are quite prevalent. For example.=20
one elementary misunderstanding, based on a=20
literal translation of the name Raku. meaning joy=20
or ease, is to think that Raku ware is easy and=20
less demanding to make than other kinds of ceramics.
As with other artistic expressions. Raku is not a=20
technical term that signifies only a firing=20
technique. It is an artistic formulation with a=20
history and characteristic style supported by a=20
unique aesthetic and philosophy. With knowledge=20
of Raku ware now spread worldwide it seems=20
necessary to cultivate a basic and better=20
understanding of the original Raku. This may lead=20
to the further development of new Raku ware as=20
more than just the fruit of temporary cultural=20
encounters. Furthermore. it may also be necessary=20
to find a new name for this Raku ware, such as=20
new low-fired ceramics influenced by Raku so that=20
it can be seen in a wider context, free from=20
attachment to the name Raku. this would he=20
conducive to natural consequences full of free=20
expression, excitement and adventure."
this from the XVth raku master.
i find this very impressive thinking.
mel
from: mel/minnetonka.mn.usa
website: http://www.visi.com/~melpots/
Clayart page link: http://www.visi.com/~melpots/clayart.html
Lee Love on thu 29 mar 07
On 3/29/07, mel jacobson wrote:
ics.
>
> As with other artistic expressions. Raku is not a
> technical term that signifies only a firing
> technique. It is an artistic formulation with a
> history and characteristic style supported by a
> unique aesthetic and philosophy.
This is true of Shino, Tenmoku, Oribe, Hagi, Bizen, Shigaraki,
Echizen, Karatsu. You name it. Sen No Rikyu or his immediate
students were responsible for most of these. Not an uneducated
country potter.
They are more than just glazes. The single biggest element
missing in American Shinos is the unique clay body. It is soft like
bisque after glaze firing.
--
Lee in Mashiko, Japan
Minneapolis, Minnesota USA
http://potters.blogspot.com/
"To affect the quality of the day, that is the highest of arts." -
Henry David Thoreau
"Let the beauty we love be what we do." - Rumi
Marta Matray on thu 29 mar 07
this is great, thanks for posting it, mel!
although it wont be simple to rename the "american raku"
and finding a new name for it now...
i am curious to know was it soldner who named his new
technique 'raku' or how did the raku name got attached
to this different firing technique from the japanese
original? anybody knows?
thanks, marta
, mel jacobson wrote:
>OVERSEAS RAKU WARE
>"Raku ware initiated by Chojiro (1574), who
>exclusively made tea bowls for the tea ceremony
>at the request of Sen no Rikyu, was from the very
>beginning highly individualistic, and therefore
>the name of the ware has been traditionally used
>as the potter's family name. As time passed. not
>only have the number of potters besides the Raku
>family who engage in making Raku tea bowls
>increased but also many amateur potters now enjoy making Raku ware.
>Under these circumstances,the name Raku, which
>was originally carried only by the Raku family,
>has now been established as a more general term
>for a type of ceramics. Today it has even become
>known worldwide thanks to a number of
>professional and amateur potters in America as
>well as in European and Asian countries who
>practice Raku firing. This Raku ware made
>overseas demonstrates a variety of expressions
>free from historical context as well as from the
>traditional style cherished in Japan.
>
>The characteristic of this foreign-made Raku ware
>is that it is basically fired at
>low-temperatures. and removed to be cooled down
>immediately outside the kiln, or is otherwise put
>inside the kiln again for re-firing. It is of
>course impossible for high-fired ceramics to be
>removed and replaced during=ADfrings. Because of
>this peculiarity of Raku firing, the
>possibilities of developing new firing and
>glazing techniques were greatly enlarged, and
>various unique methods are nosy- being employed
>hoth in America and Europe. For example, taking
>full advantage of the spontaneity and immediacy
>of Raku firing, improvised re-glazing of a pot
>can be experimented with during the firing
>process: alternatively. a pot removed from the
>kiln can be immersed in leaves to achieve an
>immediate partial reduction or to produce changes
>through carbonization. Not only leaves but also
>sawdust, oil, or even printed materials, all of
>which produce different chemical reactions, can
>be used to achieve various accidental effects.
>One thing, however, that should be mentioned here
>is that the technical experiments mentioned above
>are never practiced in traditional Raku firings
>in Japan. The piece removed from the kiln gets
>cooled down at room temperature without any
>special treatment. The firing is done only once.
>apart from the biscuit firing: re-firing has
>never been practiced in Japanese Raku ware.
>
>Thanks to easy access to fire-proof kiln
>materials, recently more and more people are
>enjoying Raku firings worldwide. In the future.
>even more inventive ideas and technical
>developments will allow further creative possibilities.
>
>It is natural that along with such developments
>this new raku will continue to takequite a
>different direction from that followed by
>traditional Raku ware. On the ether hand. One
>also has to realize that some misunderstandings
>of Raku ware are quite prevalent. For example.
>one elementary misunderstanding, based on a
>literal translation of the name Raku. meaning joy
>or ease, is to think that Raku ware is easy and
>less demanding to make than other kinds of ceramics.
>
>As with other artistic expressions. Raku is not a
>technical term that signifies only a firing
>technique. It is an artistic formulation with a
>history and characteristic style supported by a
>unique aesthetic and philosophy. With knowledge
>of Raku ware now spread worldwide it seems
>necessary to cultivate a basic and better
>understanding of the original Raku. This may lead
>to the further development of new Raku ware as
>more than just the fruit of temporary cultural
>encounters. Furthermore. it may also be necessary
>to find a new name for this Raku ware, such as
>new low-fired ceramics influenced by Raku so that
>it can be seen in a wider context, free from
>attachment to the name Raku. this would he
>conducive to natural consequences full of free
>expression, excitement and adventure."
>
>this from the XVth raku master.
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