What is the "Raku ware" tea bowl loved by Sen no Rikyu? / The World of Tea Ceramics Part 2
In Japanese tea ceremony (chanoyu), the tea bowl can be considered the protagonist of the tea gathering. From the medieval to the early modern period, a wide variety of ceramic tea bowls were created, each harboring its own unique history and aesthetic consciousness. This series comprehensively discusses representative types of tea ceramics, from their origins and historical backgrounds to their molding, techniques, characteristics, aesthetic values, and their relationships with tea masters such as Sen no Rikyu and Kobori Enshu.
In this installment, we will explain "Raku ware," the king of tea bowls and a favorite of Sen no Rikyu.
What is Raku ware – A special pottery born from the tea ceremony
Among the pottery used in the tea ceremony (tea ceramics), "Raku ware" is particularly special. Raku ware is a hand-molded tea bowl that began in Kyoto in the late 16th century at the suggestion of Sen no Rikyu, and it is said to be the first tea bowl made exclusively for the tea ceremony. Because it is shaped by hand without using a potter's wheel, distortions and variations in thickness occur, but therein lies a rustic charm and the aesthetic of wabi-sabi. Appearing at a time during the Momoyama period when Chinese-made tea bowls, such as the exquisite Tenmoku bowls, were mainstream, this avant-garde tea bowl surprised viewers and was called an "Imayaki" (modern-style) tea bowl. It was a novel style for the time (truly "Art now"). Later, because it was granted the seal of "Raku" by Toyotomi Hideyoshi, it came to be called "Juraku-yaki" or "Raku-yaki" (the character "Raku" is said to be derived from the Jurakudai palace built by Hideyoshi). Since then, the Raku family, who received the surname "Raku," has been responsible for making Raku tea bowls for generations, weaving a history of about 450 years as a family business passed down from parent to child. Today, it is widely known overseas by the name "Raku" and has spread throughout the world as a ceramic technique, but its spiritual background and aesthetics are deeply connected to Japanese tea ceremony culture.
Historical background of Raku ware – The meeting of Sen no Rikyu and Chojiro
The founder of Raku ware was the first-generation potter Chojiro of the Azuchi-Momoyama period. It is said that Chojiro was also a roof tile maker, and his father was a potter from the Ming dynasty in China named Ameya. Ameya is believed to have come to Japan from Fujian Province and brought the technique of colorful Sancai (Ming dynasty South China Sancai) pottery to Kyoto. In fact, the oldest existing work by Chojiro is a two-colored lion statue inscribed with the year Tensho 2 (1574), which uses green glaze and white clay base with two- or three-colored glazes, showing techniques common to Chinese pottery. This lion statue was made before Chojiro began firing tea bowls and demonstrates his powerful and unrestrained modeling ability. It is thought that Sen no Rikyu took notice of Chojiro, the creator of this lion statue, and entrusted him with creating quiet tea bowls that would reflect the spirit of wabi-cha.
The exact time Chojiro and Rikyu met is unknown, but it is presumed that they met during the Tensho era (1570s) through Rikyu's high-ranking disciple, Tanaka Sokei. It is said that Rikyu sought tea bowls with a natural texture, as if molded from "mud," suitable for a tea room as small as a "cave." In response to this philosophy of Rikyu, Chojiro repeated trial and error, creating red Raku and black Raku tea bowls using a unique method that did not use a potter's wheel. It is also said that the clay Chojiro used was Juraku clay, which was dug up during the construction of the Jurakudai. The Raku tea bowls born in this way became tea ceramics fired at low temperatures unique to Japan, different from conventional daily utensils or gorgeous Chinese ceramics. It is also characterized by the fact that it was "pottery molded solely for the tea ceremony," and almost no daily utensils other than tea bowls were made.
Characteristics of Raku ware – Techniques and the aesthetics of wabi
A major technical feature of Raku ware is that it is soft pottery. Because it is fired at a low temperature (about 800–1200°C) in a relatively small indoor kiln (inner kiln), the clay is soft and has a warm texture. The body (clay) is hand-molded and shaved with a spatula to shape it, resulting in a non-uniform form not found in mass-produced goods. Chojiro's tea bowls intentionally excluded decorative or flashy modeling, aiming for a quiet and profound presence. The wabi philosophy, which also connects to Zen and Lao-Zhuang thought, is strongly reflected there, making the viewer feel a deep sense of ideology. Rikyu sought to find his ideal tea ceremony in vessels that were "as they were," without much human hand or technique added, and Raku ware was the very embodiment of that philosophy.
The representative glazes for Raku ware are black and red. Black Raku was devised by Chojiro; it is coated with an iron glaze made from black stones collected from the riverbed of the Kamo River and fired in a kiln at about 1000°C. It is characterized by the fact that the iron oxide exhibits a deep black color by pulling the work out of the kiln when the glaze melts (so-called "pull-out firing") and cooling it rapidly. It is said that Rikyu requested black tea bowls so that the green of the matcha would stand out more vividly. On the other hand, Red Raku is a technique that has been made since the early days of Raku ware, and it is fired at a low temperature of around 800°C after being coated with a transparent glaze. The vessel itself develops a slightly red color due to the iron content in the red clay, resulting in a rustic and warm hue. The powerful, wabi-style atmosphere of Black Raku and the soft warmth of Red Raku—both match the spirit of the tea ceremony and have been loved by tea masters throughout the ages. In addition to tea bowls, tea utensils such as incense containers, flower vases, incense burners, and ash containers were also made in Raku ware, all of which are characterized by simple designs that enhance the tea ceremony space.
Highlights told by famous bowls – Focusing on "Daikoku" and "Toyobo"
In talking about the charm of Raku ware, the episode of the Seven Chojiro Bowls, which are said to have been identified by Sen no Rikyu as "masterpieces," is indispensable. The Seven Chojiro Bowls is a collective term for seven tea bowls made by Chojiro that Rikyu particularly admired: "Daikoku," "Toyobo," "Hachihiraki," "Hayafune," "Kengyo," "Rinzai," and "Kimamori." Each has been given a prestigious name and is now designated as a National Important Cultural Property. Among them, the black Raku tea bowls "Daikoku" and "Toyobo" are famous as representative masterpieces of Raku ware and have attracted the interest of many tea masters and researchers.
"Daikoku" by Chojiro
The black Raku tea bowl "Daikoku" (Momoyama period, private collection, Important Cultural Property) by Chojiro, which Sen no Rikyu chose as a masterpiece. It is a famous bowl that exudes an overwhelming presence despite its small size. It is often listed at the top of the seven Rikyu bowls, and although it is popularly said that the name comes from it being a "large tea bowl," the actual object has a neat and calm style. There are slight irregularities in the jet-black vessel shape, and when you pick it up, you can feel a warmth that fits into your palm. From its quiet appearance, the spirit of wabi pursued by Chojiro and Rikyu is deeply conveyed.
"Toyobo" by Chojiro
The black Raku tea bowl "Toyobo" is also a representative of the Seven Chojiro Bowls. It is said that this tea bowl was cherished by Toyobo Chosei, a disciple of Rikyu and a monk at Shinnyo-do Temple in Kyoto, and his monk name was adopted as the name of the bowl. It has a unique tension from the body to the waist, like a turtle shell split in half, and the opening is a horizontal and neat "Ichimonji-zukuri" (straight-line style). It is thin and light, and the inside is deep and rustic, but the glaze tone is a calm semi-gloss on the inside and a black, glossy finish on the outside, making the overall balance of stillness and motion exquisite. A box inscription of "Toyobo" said to be in Rikyu's own handwriting exists, and it is said that Rikyu wrote it himself when he gave this tea bowl to Toyobo. Since then, Toyobo has been passed down through daimyo families and wealthy merchants, and it carries many stories along with the tea bowl itself. In its quiet black glaze, one can read the thoughts of the people who bet their lives on the tea ceremony.
In addition to these famous bowls, various works are known as masterpieces, such as the red Raku tea bowl "Muichimotsu" by Chojiro, and in later eras of Raku ware, "Amagumo" and "Shigure" by Hon'ami Koetsu, and "Aoyama" by the third-generation Donyu (Nonko). Each name and origin has a story, which is a pleasure when appreciating the tea bowls. The highlight of Raku ware lies in the individuality and background that each work possesses. The aesthetic consciousness of the creator and the owner is reflected even in the simplicity, and one can think about the drama hidden behind the wabi appearance.
The genealogy of the Raku family and the challenges of successive generations – Protecting tradition and creating
Indispensable to any discussion of Raku-yaki is the Raku Kichizaemon family, which has continued from the first generation, Chojiro, to the present day. The Raku family is counted as one of the Senke Jusshoku (the Ten Craftsmen of the Sen family), and after Chojiro's death, his daughter's husband, Jokei, took the name of the second-generation Kichizaemon and succeeded as head of the family. Since then, successive heads have inherited the name 'Kichizaemon' while passing down the techniques and spirit of Raku-yaki through a single line of succession. However, tradition is not merely about preserving form; it is also important to note that each generation has applied their own ingenuity to suit their respective eras.
For example, the third generation, Donyu (also known as Nonko), was active in the early Edo period and is praised as the greatest master among the Raku generations. He deepened his friendship with Hon'ami Koetsu and incorporated novel designs into his tea bowls. In contrast to the simple, uncompromising style that had been the tradition since Chojiro, Donyu demonstrated a modern sensibility by combining black, white, and transparent glazes, and applying abstract patterns to the sides of the bowls. This innovation is said to have stemmed from the 'spirit of creating something new' that he learned from Koetsu, representing a brilliant fusion of tradition and the avant-garde. While the fourth generation, Ichinyu, returned to the wabi aesthetic of Chojiro in his later years, he also perfected 'Shu-gusuri' (vermilion glaze), where vermilion blends into black glaze, leaving a significant influence on later generations. The fifth generation, Sonyu, while respecting Chojiro's spirit, developed his own unique black glaze called 'Karekuso-gusuri' (withered algae glaze), showing how each generation has unfolded a drama of tradition and creation through the spirit of Shuhari (mastery, break, and departure).
The Raku family lineage continued steadily after the Meiji era, and in the modern and contemporary periods, heads such as the 14th generation, Kakunyu, and the 15th generation, Jikinyu, left behind works that engaged in dialogue with their times. The current head, the 16th generation Raku Kichizaemon, is also one who explores a new image of Raku-yaki while building upon tradition. The 15th generation, Raku Jikinyu, utilized his studies in sculpture and creative experiences abroad to challenge himself with bold styles, such as tea bowls with rough textures created through a unique technique called 'Yakinuki' (fired through). Some of his works were so innovative that traditional tea practitioners were bewildered, asking, 'Where should I drink from?' or 'The tea cloth gets caught,' but these works also served as catalysts that shook the common sense of the tea ceremony. Jikinyu also interacted with overseas ceramic artists and enjoyed free creation by daringly incorporating the Western RAKU technique (an American style of Raku-yaki smoked with sawdust after firing), greatly expanding the possibilities of Raku-yaki. Looking at the path of these successive generations, we can see that while all the heads held the first generation, Chojiro, in respect and as a guide, they each pursued their own beauty. It is precisely because the Raku family has been passed down through a single line, without disciples or branch families, that a strong pride in balancing tradition and innovation has been cultivated.
Raku-yaki in the Modern Age – Continued Creation and Global Expansion
Raku-yaki continues to be an essential presence in modern tea ceremonies. Black Raku tea bowls, which are familiar to the hand and warm, are preferred for winter tea gatherings using a hearth, while red Raku tea bowls are prized in summer when a cool atmosphere is sought; Raku tea bowls are used differently depending on the season and the theme of the gathering. The soft texture and wabi aesthetic of Raku-yaki give us in the modern day a sense of nostalgia and fresh inspiration. In exhibitions at the Raku Museum (Kyoto) and various other venues, works from the first generation, Chojiro, to the present are introduced on a scale often described as a 'universe within a tea bowl,' and their artistry is being re-evaluated. Furthermore, coupled with the 'Raku' movement by Western ceramic artists, interest in Raku-yaki is rising globally. However, the avant-garde nature of Japanese Raku-yaki lies not only in its technique but in the Zen spirituality behind it. The contemporary Raku Kichizaemon also creates silent yet powerful works from a state of mind of 'wanting to exist as quietly as a rock,' demonstrating the form of Raku-yaki that continues to evolve while remaining rooted in tradition.
Raku-yaki, which holds the abyss of wabi in a world of quiet black and red, attracts people's hearts across the ages. The avant-garde spirit and beauty discovered by Sen no Rikyu still pulse within the tea bowls 450 years later. When we hold a bowl of Raku-yaki in our hands, we are touching something more than just a vessel—the history and aesthetic consciousness of the tea ceremony, and its cultural depth. Such an experience will surely deepen our interest in the tea ceremony and ceramics even further.
Bibliography and Reference Materials List
· Raku Museum Official Website: 'Origins of Raku-yaki', 'Roots of Raku-yaki', 'Name of Raku-yaki', 'Introduction to Raku Generations' · 'Chojiro' (Wikipedia Japanese version) · Nippon.com: 'The Avant-Garde Spirit Seen in Raku Tea Bowls' by Toru Takahashi (April 23, 2017) · Tea Ceremony Urasenke Tankokai Hokkaido Block: 'Chojiro Seven Types' Column · 'List of Important Cultural Property Tea Bowls' Chiyoku Site (Kaori Kusunoki, 2021) · Daruma 3 Magazine: 'History, Characteristics, and Appeal of Raku Tea Bowls' (November 20, 2023) · Sumihisa Tsuruta: 'Chojiro Black Raku Tea Bowl, Inscribed Toyobo' Commentary (from 'Dictionary of Tea Ceremony Art Appreciation')