In Japan, an old saying ranks the ceramics favoured by tea masters: “Ichi Raku, ni Hagi, san Karatsu”, first Raku, then Hagi, then Karatsu. It sums up the aesthetic of the tea ceremony, which prefers simplicity and irregularity to perfection.
The origins of Raku
Raku was born in Kyoto in the 16th century. The potter Chōjirō made tea bowls for Sen no Rikyū, the tea master who codified the tea ceremony (chanoyu). Built by hand rather than thrown on the wheel, plain and undecorated, these bowls broke with the pieces imported from China that were highly sought after at the time.
The name Raku comes from a seal bearing the character 楽, “pleasure”, associated with this family of potters. Their descendants still continue the lineage in Kyoto today.
A distinctive firing
Raku pieces are fired at a relatively low temperature, then taken out of the kiln while still glowing and cooled in the open air. This thermal shock gives the glaze its distinctive look. The “raku” technique practised in the West, where pieces are smoked in sawdust before cooling, is a more recent variant developed in the United States in the 20th century.
Hagi and Karatsu
Hagi, from Yamaguchi Prefecture, is known for its soft, milky glazes, which change colour slightly with use: people speak of the “seven transformations” of Hagi. Karatsu, from Saga Prefecture, stands out for its simple shapes and decorations painted in a single stroke.
These three ceramics share the same idea: a tea bowl does not need to be perfect to be beautiful. Its irregularities, its texture and its weight in the hand are part of the pleasure.
The spirit of Raku at home
Without being Raku pieces, some of our bowls are inspired by this aesthetic, with speckled red and black or textured grey glazes: find them among our rice and donburi bowls. For matcha, discover our matcha bowls from Tokoname and the Mino region, and our teacups, some inspired by the Hagi style.
