The Tea Ceremony

Raku is not made on a wheel, but hand-thrown, and can been fired at very low temperatures. One theory has it that raku was introduced to Japan by a Korean called Ameya early in the 16th century.
Rikyu employed the Chojiro l to make raku vessels for his tea gatherings, and established the ÔsoiÕ shape, although this has many variations. From the late 16th century, Hideyoshi used raku at his Jurakutei palace, and the term Ôjuraku wareÕ is used. But it was the 2nd generation raku head, Jokei, who received a seal reading ÔrakuÕ, thus giving rise to the name by which the ware is now known.
The clay used in raku is ideal for retaining teaÕs heat, for the same reasons as that it can be fired at such a low temperature. It is warm in the hand and pleasant to hold. It is modest in colour and relaxed, and in a perfect harmony with RikyuÕs aesthetics of tea. Raku became the symbol of wabi tea. There are various glazes, and raku comes in red, black and white forms. There are also raku vessels that are not teabowls, such as horoku pans. Rikyu preferred the black sort, considering it the most antique in feel, but HideyoshiÕs taste was different. He regarded the RikyuÕs black bowls as too free and loose, and thus as opposed to his own authority.
The Raku family has worked for the Sen house for 15 generations, up to the present. But they have not been slaves to tradition, but have allowed their potting to evolve. The 3rd generation head, Michiiri, was famous for his novel glazes and forms. RikyuÕs grandson, Sotan, loved MichiiriÕs work and gave him the familiar name Nonko. Michiiri moved away from what is called ÔoldÕ Raku and innovated, and is held to be the best of all the Raku line.
The original raku kiln was kept, but others were also constructed, and each generation added their own. One of the best known side-raku potters was HonÕami Koetsu, by whom countless excellent teabowls are known.