Behind the Scenes at A Raku Ware Workshop

Raku ware, a type of pottery that emerged in the late Momoyama period (1573–1603 CE ), is used in tea ceremonies as a vessel for savoring matcha. Crafted by Chojiro (1516–1592 CE), initially a tile maker, this distinctive pottery was conceived specifically to create matcha bowls for tea master Sen no Rikyu (1522–1591 CE) to embody the essence of wabicha, which is a style of Japanese tea ceremony emphasizing simplicity.

The tea ceremony holds an important place in Japanese culture. The host and guests prepare and partake in a tea ceremony to facilitate a heart-to-heart connection. An essential step, purification, takes place within the tea bowl. Although many tools are utilized, the tea bowl is unique in its direct contact with the lips.

At the beginning of spring, Team Musubi arrived in Kyoto, a place deeply rooted in the fertile ground of Japan's traditional culture, nurturing various fascinating crafts. We were fortunate to interview Kawasaki Motoo, the eighth-generation head of Raku Studio Waraku, who shared with us the intricacies of the Raku ware production process and craftsmanship, along with his personal insights into its allure.

Kawasaki was born in Kyoto, and it could be said that his encounter with Raku ware began from birth. Growing up in a traditional pottery-making family, he spent his childhood watching his father craft ceramics, yet he did not initially see this path as his lifelong career and pursuit. Upon entering the workforce, he chose to take up employment in Tokyo, handling overseas business.

At the age of 30, after a challenging decision-making process, he decided to return to Kyoto to take up the family's mantle, dedicating himself to the craft that his ancestors had poured their hearts into. It was at this time that Kawasaki could be said to have encountered Raku ware once again.

During the interview, Kawasaki graciously showed us his workshop and provided a passionate and detailed explanation of the birth process of Raku ware. Exiting through the back door of the store, which displays various products, and passing through a narrow path, we arrived at his workshop.

As the essence of Raku ware lies not in complex patterns or decorations but in the craftsmanship of its shape and glaze, the tea bowls are meticulously hand-shaped, reflecting a strong spirit and warmth. It is precisely because of this characteristic that each one is unique, possessing its own singularity.

We were also fortunate to witness the appearance of Raku ware just as it emerged from the kiln.

Kawasaki mentioned that the most challenging stage of the process is firing the black Raku tea bowls. Even when the glaze formula is carefully calculated and applied, it is impossible to fully control the conditions inside the kiln—such as oxygen levels and air circulation. As a result, the way the glaze melts and the colors emerge varies with every firing.

“That unpredictability is what makes it difficult,” he explains, “but it’s also what makes it fascinating.”

The clay body of the bowl and the glaze expand and contract at different rates. After the piece is removed from the kiln and rapidly cooled, the glaze shrinks more than the clay beneath it. This difference in contraction creates fine crack patterns in the surface, known as kannyu.

When Kawasaki opens the kiln lid and lifts the vessel out with metal tongs, the temperature is still around 1472°F (800°C). Moments later, a freshly fired tea bowl begins to emit a faint, bell-like sound—much like a wind chime—while delicate cracks gradually trace themselves across the glaze.

Kawasaki mentioned that the technique of making tea bowls is not overly complex. For the creator, cultivating sensitivity and a deeper appreciation of the spirit embodied within is far more important. To improve his craft, Kawasaki also studied content related to the Urasenke school of tea.

Ichigo ichie, meaning “a once-in-a-lifetime encounter,” is a significant concept in the tea ceremony. It expresses the idea that each gathering should be approached as a singular, unrepeatable moment, in which both host and guest devote themselves to one another with sincerity. As every tea bowl is unique, the process of making each one can be seen as embodying the spirit of ichigo ichie.

Bathed in sunlight, Raku ware exudes a lustrous and warm glow throughout, its simple yet elegant appearance harmonizing perfectly with the seemingly straightforward but profoundly cultural characteristics of the tea ceremony. Overall, it possesses a texture and sophistication that are immensely appealing.

In Kawasaki's view, the charm of Raku ware is not only derived from its external appearance but also from an intrinsic tolerance and acceptance of things as they are.

Kawasaki believes that Raku ware is a type of pottery that allows for failure. To put it more dramatically, even if there are some imperfections, if the piece holds a charm that surpasses its flaws, then someone will cherish it. Despite any minor imperfections, he desires to continue crafting objects that exude a beauty transcending their flaws.