History of Raku

 Raku originated in the 16 th century. The name “Raku” was bestowed on Jokei, the son of a Korean immigrant potter living in Kyoto. Jokei´s father was chosen by Senno-Rikyu (AD 1522 – 91), a prominent tea master, to produce pottery for the Zen Buddhist tea ceremonies. It was Senno-Rikyu who established the “wabe” concept, which is loosely translated as austerity or simplicity.

Originally taken from the Chinese, the Raku character was inscribed on a presentation gold seal. This Raku artwork was developed as a direct result of the Japanese tea ceremony.

Translations vary, but in simplistic terms, Raku symbolized contentment, pleasure, enjoyment and a direct and honest approach one should have toward the external elements in order to reach enlightment.

In the West, the happy circumstance of Raku has a different meaning. We loosely us the term “Raku” as a firing method with a wide degree of outcomes.

 Raku, with its battle with the elements of fire and smoke is an exciting technique, one that is suited to communal firings. While it is an age-old tradition from Japan, it has found many devout followers in western ceramic communities.

Raku often captures the heart and passion of  the artists. No two pieces are exactly alike. Raku, in Western culture, is translated to mean “happy circumstance” because every time you Raku your pottery, you will get a different result. So, be happy with it!

 

Raku in our region

To use the Raku technique in ceramic production is quite common since at least 40 years in our area. One of the most famous artist is Horst Kerstan, who worked and lived from  to 2005 in Kandern, a famous ceramic production town nearby. He studies Raku in Japan and improved this technique over a long period. He became predecessor in Raku work and several other artists followed in his footsteps. Now there is a big and skilfull variety of artists working in raku technique.

Erica Chavez-Kuenzle

One of the great newcomers of Raku artist is Erica Chavez-Kuenzle.

 

 

 

 

 

 

 

 

 

 

 

The Raku Process

 The special feature of the technique is a low-fire technique, where bisqued work is quickly heated to red hot temperature and then taken our of the kiln and reduced in wood shavings, newspaper or a similar combustible material.

Raku ware is decorated with low-fire glazes, which usually contain a lot of frit. The clays used for this firing technique contain a high percentage of grog, so the work will be able to withstand the high temperature fluctuations, although this does not mean that other clays can´t be used.

Equipment:

You need a typical Raku kiln, wastebaskets, a fan, a fire extinguisher, tongs.

Protective gear: resistant welder´s gloves, boots, coat, facial mask. Protect your hair.

The firing process:

  1. First you load the kiln with ceramics to be fired.

The glaze should have been applied at least 24 hours in advance of firing. This will allow the glaze to dry sufficiently and avoid cracking or explosion when subjected to the rapid temperature increase at the beginning of firing.

Care should be taken when loading the kiln that no piece is touching the other or the inside walls of the kiln. Place the hood over the pieces.

 

 

  1. Then you lighten the burner. Often it is an inexpensive torch sold to burn off weeds. A burner designed for raku firing is better, but more expensive. Be careful to have the wind at your back.

 

  1. You increase the heat by turning up the gas pressure, in three or four stages during the firing.

    Often it takes about 15 minutes. At this point the pottery is approximately 1850 degree.

    Once the temperature has been turned up to its final stage, check the colour and surface condition by looking through a viewing port cut into the side of the hood to determine when firing is complete.

 

 

  1. When the firing is done, turn off the gas flow and allow the pieces to cool just enough to avoid their cracking due to the shock of being exposed to the relatively cold outside air. Then remove the hood.

 

 

  1. Take the pieces from the kiln to the reduction barrel. Use the tongs.

It is best to use galvanized trash barrels which have hay, shredded newspaper, leaves, pine cones, saw dust etc  inside as combustible material. Depending on the glaze and the finish you want to obtain, either move the piece to the barrel as fast as you can, or allow the glaze to oxidize and cool somewhat before inserting it into the barrel.

 

 

  1. Next place the piece into the reduction barrel. Once this has been closed the fire inside consumes all of the oxygen and creates black smoke which is drawn into the fired clay anywhere it is not protected with glaze. This is why the raku fired pieces are dark grey to black on its feet and in the cracks of a crackle glaze.

 

 

  1. After the piece has been in the can at least twenty five minutes it may be transferred to a bucket of water to cool. The rapid water cooling is only necessary if the reduction barrel must be reused for the next batch from the kiln.

 

 

  1. Once the pottery has cooled, it is then ready to be washed thoroughly as a film of tar has accumulated on the piece during the reduction process. Common kitchen cleaners with mild abrasives can be used.   

 

 

  1. Firing can be done by one person, but firing as a group is more enjoyable and definitely safer.    

 

 

 

 

More photographs:

  Oven

 

Tongs

 

Bowl

 

Bird

 

     The Raku Process