Question:
What is the history of Raku?
Korean Celadon Today
Celadon Today
In 1910 Korea was forcibly colonized by the Japanese bringing to an end the Chosun Dynasty. During the Japanese colonial period (1910-1945) Korean pottery as an art form, all but died out. To be sure, white porcelain and some brown porcelain was still produced but it was of a lower quality for daily use and not considered art in itself.
After Korea's liberation from Japanese rule at the end of WWII and through the Korean war (1950-1953) survival, and not art, was the order of the day. But in the mid-1950s a group of Korean artisans set out to discover the lost art of Koryo celadon. Since that time they have made great progress in re-discovering the lost art and today are nearly able to reproduce the stunning beauty of the original Koryo celadon.
History
Raku Pottery was developed in Japan over 400 years ago as the Ceremonial Tea Ware of the Zen Buddhist Masters. It was preferred by the Masters because of its humility, its tasteful unpretentiousness, its simple naturalness, and its deliberate avoidance of luxury...all very intrinsic to the Zen philosophy.
Seldom watertight, Raku is actually a very poor choice for a casserole or a flower vase; it is pottery apart from utility or function. Raku must be approached with a different criterion in mind, like a painting or a symphony. According to the Zen Masters, its elusive, subtle, yet vigorous beauty is Raku's only worth. It is valued because it is believed that the Spirit of the Maker is embodied in the form and revealed at the foot, which is traditionally left naked (unglazed). It is believed that if we are alert to ourselves, in contemplating the Raku form, we will recognize in it our own Spirit and Meaning.
Inca pottery
Inca pottery was largely a product of Inca conquests. In Cuzco the Incas brought together the cream of the empire's potters with a view of discovering their trade secrets and expanding production. The presence of two main streams can be detected in Inca pottery: the "Chimú" techniques with "Mochica" reminiscences as in the black ware made by the north-coast potters of Chanchán and Lambayeque.
A higher degree of Inca style is present in the second of the two streams in which the forms and motifs are typically Inca and the style quite distinct from any other. Traces of "Nazca" origins can be detected in the palette used by the potters in the development of a new form: the "aryballos". Used for transporting water, this large globular jar with a conical base which could be implanted in the ground, was carried on the back."
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| Guru Spotlight |
| Jolyn Wells-Moran |
