Shiro Raku Yunomi - 220ml

Touan
Regular price $78.00
Description

A modern twist on the classic Raku style, this shiro-raku yunomi (teacup) features a slightly waisted tsutsu-gata shape and is glazed in a soft, pure white that accentuated the colour of the tea.

Specifications

Made in Japan. Ships from the United States.

Width: 8.2 cm (3.2 in) (Widest Point)
Height: 8 cm (3.1 in)
Capacity: 220 ml

Kyō-yaki (京焼) is a type of Japanese pottery that traditionally comes from Kyoto, Japan. The pottery traditions of Kyoto date back to the 5th century and are varied in their styles. The styles most associated with modern kyō-yaki production began during the 1600s when Nonomura Ninsei perfected his overglaze technique, leading to the elegantly decorated, multi-coloured wares that Kyoto has come to be famous for.

Kuro-raku (黒楽) or black Raku is most famous style of Raku pottery. One of Japan's most recognisable ceramic traditions, Raku-yaki (楽焼) or Raku ware was developed by famous tea master Sen-no-Rikyū in the late 16th century. Perhaps inspired by the recently developed 引き出し黒 (hikidashi-guro) technique used to produce the Seto-guro style of black chawan, Rikyū collaborated with tile-maker Chōjirō to produce a new style of ware for use in the tea ceremony.

Hand-formed from porous clay rather than wheel-thrown, raku chawan are then bisque-fired, glazed, and then fired individually or in small batches for a short amount of time at relatively low temperatures before finally being removed from the kiln while still glowing hot. The resulting bowls are very light and porous - imperfect in both shape and construction. Unlike porcelain or high-fired stoneware bowls which produce a high-pitched, bell-like ring when tapped, raku bowls are so low-fired that they only produce a dull thud.

The vast majority of raku chawan are made in the hantsutsu-gata shape, and are generally circular, with naturalistic imperfections, rather than intentional distortions.

Originally, raku chawan were always undecorated, as, in Rikyū’s eyes, decoration is an unnecessary artifice that distracts from the pure elegance of raku bowls’ simplicity. Today, however, it is not uncommon to find painted or otherwise decorated raku chawan.

When first made, these bowls may have been called Juraku-yaki (聚楽焼) as they were fired on the grounds of Hideyoshi’s Jurakudai palace (聚楽第). Hideyoshi gave both the wares the seal of ‘Raku’ (楽) meaning ‘enjoyment, and gave this name to Chōjirō himself as well. The descendants of Chōjirō continue to bear the family name Raku and still produce raku chawan to this day.

It is worth noting that ‘raku’ in the realm of western ceramics arts, refers to a derivative, but separate practice.

The organic shapes, rough textures, and natural imperfections of this style made Raku pottery almost synonymous with wabicha and the later term "wabi-sabi".

Pictured here is Omokage (面影), one of the original Kuro-raku chawan.

kuro-raku

Founded in 1922 at HIgashiyama Senyū-ji Temple, Touan has since become one of the largest Kyo-yaki and Kiyomizu-yaki producers, with over 20 artisans hand-crafting and painting each piece. In contrast to the standard overglaze painting technique that Kyoto ceramics are known for, Touan has developed an underglaze technique that produces the same vibrant colours and delicate lines, but is more durable due to the glaze being layered on top of the painting.

Touan is headed by fourth generation potter Dobuchi Yoshiaki (土渕善亜貴) who is known for his stunning developments in glazing, creating Touan's new signature crystal flower glaze. Additionally, he is one of only a handful of potters who has successfully replicated the elusive yōhen tenmoku glaze.

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