This rapid spontaneous method of glazing and firing was created in Japan in the 16th century. The pieces fired in this way were used in great part, for the Zen tea ceremony. The word "Raku" means "felicity or happiness". In Japanese Raku, the work is quickly fired and removed from the kiln still white hot. It is then usually placed on a stone or the ground to cool.  Very coarse clay is used and the glaze colors are usually black, red brown or white. In one version of western Raku firing, bisque-fired clay is removed from the kiln when the piece itself becomes red-hot and the glaze melts about 1100-1800 degrees. The piece is then immersed in combustible material such as: wood chips, leaves, hay etc. The chamber is then covered. The resulting oxygen reduction atmosphere turns the unglazed clay black. The pot is then removed and cooled. Sometimes the work plunged into cold water for quick cooling.  Although traditional Raku glazes are soft and subdued. Contemporary Raku potters use a variety of surfaces and glazes in a wide color range, including metallic luster.

In order to withstand the thermal shock of this rapid heating and cooling process, sand or grog (ground fired clay) is mixed with the clay making it very porous, delicate and unsuitable for liquids or food. The pieces created from this process are strictly aesthetic statements.

Firing in this manner leads to exciting and variable results. Copper mattes especially will tend to loose some of the bright color over the years, changing slightly until they acquire a patina similar to traditional Raku glazes (oriental) soft and subdued...They are like living things. They mellow and age gracefully if taken proper care of. They should not be placed in direct sunlight and the surface should only be cleaned with a soft brush.  Understanding the process and how the pottery ages will add to your appreciation of contemporary Raku work. Glazes, after all, are only part of the statement. The craftsmanship, form, balance, proportion, surface and composition as well as color make the entire piece work.

Sagger, Pit and other primitive techniques.

click HERE for handout on sagger firing

SAGGER FIRED,  PIT FIRED, HORSE HAIR AND NAKED RAKU VESSELS have no glaze on the surface of the piece. These pieces are created either on the wheel or in traditional ways, i.e. hand building: coils or pinching. As in ancient times, some of this work is painstakingly burnished by hand with a smooth stone or piece of metal.  The process is one of intense labor.  For burnished (polished work) when close to the dry state the piece is polished with a smooth stone, or piece of metal. This is done several times being careful not to damage or finger print the surface.  When the piece is completely dry, It is completed using one of more of the following techniques:

PIT FIRING

is the oldest known method for the firing of pottery. Unfired pots are nestled together in a pit in the ground and are then covered with combustible materials such as wood shavings, leaves, metal oxides, salts, sawdust and dried manure. The top of the pit may be protected with moist clay, shards, larger pieces of wood or metal baffles. The filled pit is then set on fire and carefully tended until most of the inner fuel has been consumed. At around 1,100°C (2,000°F) the maximum temperatures are moderate compared to other techniques used for pottery. After cooling, pots are removed and cleaned to reveal patterns and colors left by ash and salt deposits. Pots may then be waxed and buffed to create a smooth glossy finish.

SAGGER FIRING

or fired in a Sagger where it is fired twice. The first is a (bisque). The second firing is done in the Sagger, that is, a container filled with minerals, wood shavings etc. Sometimes the piece is wrapped in seaweed or other materials to get color. Salt is added to the Sagger along with other materials in the attempt to get an interesting surface. The Sagger is placed in a fuel burning kiln in my case a gas kiln and fired to about 1800 degrees. Every piece is different Most pots are fired several times to satisfy the artist. This of course adds to the problem of breakage. Loss and damage rates are high. These pieces are extremely fragile.

HORSE HAIR FIRING

Horse hair pottery is a unique technique combining an ancient Japanese firing method with the application of a horse's tail hair. There is no glaze on the surface of the piece. It is said that the inspiration for these vessels originated with Native Americans. My current work in this medium combines Western Raku techniques with the application of horse hair and sometimes materials turkey feathers etc during the firing. Each piece of pottery is handmade by me on the pottery wheel using  white stoneware or porcelain clay body. After throwing, smoothing, trimming, burnishing, and bisque firing, the pot is ready to fire. The bisque pots are loaded into the Raku kiln and the temperature is brought up to approximately 1200 degrees. The pots are then carefully removed, one at a time and the horsehair is applied to the extremely hot pot. Instantly the hair starts to vaporize on the surface of the pot, squiggling and dancing around the surface of the piece, painting it's image on the pot, leaving behind carbon black lines.  never are two piece alike. The pieces are then washed, dried, and hand  waxed with a quality paste wax. Retail prices range from under $50.00 to over $500.00.  

Like all primitive techniques horse hair vessels are fragile and not waterproof. flowers or plants may be inserted in a water tight glass or plastic container preventing contact with the fragile  surface.

NAKED RAKU FIRING

"Naked Raku" is an interesting term for this unglazed pot.  There is no glaze applied to these pieces. This work is usually wheel thrown from white stoneware or porcelain. After a bisque firing, it is dipped in a special slip, glazed, dried and fired. The slip cracks and when the piece is reduced in the  reduction chamber. The smoke enters the cracks. During cleaning the surface slip is removed revealing the planned or random pattern beneath.

Link to the Naked Raku Master Wally Asselbergh

CARE

Like all fine art these vessels should not be exposed to strong light and. They should be kept dusted and occasionally buffed (Burnished pieces) with a soft brush and a soft rag in order to clean and refurbish the wax that  has been applied to maintain the burnish.

Follow this link to watch a short video on burnished vessels Burnished vessel Video

Returns:  Please contact me via Email if dissatisfied with your purchase. You may return it for your full purchase price. (Shipping charges are not refundable.) Buyer pays all shipping and packing charges.  I usually ship USPS Priority mail - insured.