Raku Pottery History: Fire, Imperfection, and a Quiet Sense of Time

Ian Jeffery
Jan 1
4 min read

This post explores the raku pottery history behind the process, tracing its journey from sixteenth-century Japan to contemporary British studio ceramics.

Raku pottery occupies a distinctive place in the ceramic world. It is at once ancient and immediate, steeped in ritual yet dramatic in process. Few ceramic traditions have travelled so far from their point of origin, or evolved so visibly, while still retaining a recognisable spirit. To understand raku is to understand how clay, fire and philosophy can intersect across centuries and cultures.

The Origins of Raku Pottery History in Japan

Portrait of Sen no Rikyū, Japanese tea master linked to the origins of raku pottery — Portrait of Sen no Rikyū, 16th century. Revered tea master whose philosophy of *wabi-cha* profoundly influenced the aesthetics of Japanese tea ware, including early raku ceramics.

Raku ware emerged in Kyoto during the late sixteenth century, at a moment when the Japanese tea ceremony was being reshaped by the aesthetic philosophy of wabi-cha. This

approach to tea, closely associated with Sen no Rikyū, rejected excess and symmetry in

favour of quietness, irregularity and emotional depth.

Traditional Japanese raku tea bowl hand-formed for use in the tea ceremony — Raku tea bowl (chawan), Japan. Hand-formed and low-fired, traditional raku bowls were created for use in the tea ceremony, where subtle surface variation and tactile qualities were valued over uniformity.

Within this context, a Kyoto craftsman known as Chōjirō began making hand-formed tea bowls unlike anything produced on the wheel. These bowls were low-fired, thickly glazed, subtly irregular and intended to be held and contemplated rather than admired from a distance. Their beauty lay not in perfection, but in restraint and tactility.

The name “Raku” became associated with this work through Chōjirō’s family, forming a lineage that has continued for generations. In Japan, raku is not simply a technique; it is a family tradition bound to tea culture, use, and philosophical intent. The bowls were never meant to be decorative objects alone. They were functional, intimate and contemplative, shaped as much by human touch as by fire.

What traditional raku is – and is not

Traditional Japanese raku is often misunderstood. While pieces are removed from the kiln while still hot, they are typically allowed to cool naturally in the open air. The dramatic post-firing reduction processes and heavy smoke effects now commonly associated with raku are not part of the original Japanese method.

Instead, the emphasis lies in form, glaze response and subtle variation. Surfaces are often quiet and matte, with crackle or pooling that reveals itself slowly over time. The resulting work rewards prolonged looking rather than instant impact.

Raku beyond Japan: process, drama and reinvention

As raku travelled beyond Japan in the twentieth century, it began to change. Western studio potters were drawn to the immediacy of the firing process and began to explore its more expressive possibilities. Fire became more visible, smoke more intentional, and unpredictability part of the appeal.

Mid-20th century studio potters working with raku ceramics in a Western pottery workshop — Studio potters shaping clay vessels in a raku workshop setting, mid-20th century. Images such as this reflect the growth of raku as an experimental, hands-on firing practice within Western studio pottery.

A pivotal figure in this transformation was Paul Soldner, who, in the late 1950s and early

1960s, helped define what is now widely known as American raku. By placing red-hot pots into combustible materials after firing, Soldner introduced intense reduction effects that dramatically altered glaze surfaces and clay bodies. This approach marked a clear departure from traditional Japanese practice, while still acknowledging its influence.

In this Western context, raku evolved into a communal and performative process, often carried out in shared firings where chance, timing and collective experience played central roles.

Raku in the UK: seriousness beyond spectacle

In the UK, raku found fertile ground within the studio pottery movement. Initially embraced as a teaching and workshop technique, it soon developed into a serious contemporary discipline.

Naked raku pottery bowl showing blackened crackle lines formed during reduction firing — Naked raku bowl, contemporary British studio pottery. The fine blackened crackle lines formed as the glaze contracted during cooling, with carbon settling into the fissures to create a distinctive graphic surface.

One of the most influential figures in British raku is David Roberts, whose work from the 1980s onwards demonstrated that raku could be monumental, controlled and conceptually rigorous. Roberts is closely associated with the development of naked raku, a process in which smoke replaces glaze as the primary surface language, allowing fire and carbon to “draw” directly onto the clay.

Through this evolution, raku in the UK moved beyond spectacle and into a mature ceramic language, capable of producing work that is both visually striking and quietly resolved.

Raku at Village Ceramics & Crafts: a contemporary British approach

At Village Ceramics & Crafts, our raku work sits within this contemporary British tradition – respectful of raku’s origins, but rooted firmly in modern studio practice and the unpredictability of open flame.

Many VC raku vessels explore the balance between control and chance that defines the process. Crackle-glazed pieces, for example, are pulled from the kiln at peak temperature and allowed to cool before gentle reduction. As the glaze contracts, fine web-like crackles form across the surface, darkening as smoke settles into the fissures. Each line records a moment of thermal stress and release, ensuring that no two vessels can ever be the same.

British raku has also embraced scale and presence, moving beyond small functional forms into sculptural vessels that command space. Several VC raku pieces follow this lineage, using hand-built techniques such as coiling and slab construction to create grounded, architectural forms. The physical weight of the clay is softened by the movement of flame and smoke across the surface, resulting in work that feels both robust and quietly expressive.

Whether crackled, smoked or subtly carbon-marked, these surfaces are not decorative effects applied after the fact. They are formed through heat, timing and restraint — a direct record of the firing itself.

Why raku still resonates

Raku endures because it embraces impermanence. Cracks, smoke marks and irregularities are not flaws to be corrected, but evidence of a moment in time. Each piece is unrepeatable, shaped by decisions made in seconds and reactions that cannot be fully controlled.

For contemporary interiors, raku offers something quietly powerful: objects that carry the memory of fire, the trace of the maker’s hand, and a sense of immediacy that polished perfection can never replicate.