{"id":"raku-ware","no":513,"name":"Raku Ware","ja":"楽焼","era":"16th century–","family":"陶磁の様式","kind":"スタイル","collection":"Dictionary expansion 26","addedAt":"2026-08-19","source":{"title":"Getty Research Institute — Art & Architecture Thesaurus: raku (pottery) (300053889)","url":"https://vocab.getty.edu/page/aat/300053889"},"reference":{"status":"verified","pageUrl":"https://vocab.getty.edu/page/aat/300053889","credit":"Getty Research Institute — Art & Architecture Thesaurus: raku (pottery) (300053889)","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Hon'ami%20Koetsu%20Fujisan%201.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Hon'ami%20Koetsu%20Fujisan%201.jpg","credit":"本阿弥光悦《白楽茶碗 銘 不二山》17世紀 — Wikimedia Commons / Public domain"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Theekom%20Theekom%20met%20een%20zwart%20glazuur%2C%20AK-MAK-737.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Theekom%20Theekom%20met%20een%20zwart%20glazuur%2C%20AK-MAK-737.jpg","credit":"黒楽茶碗 17世紀 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Theekom%20met%20een%20rood%20glazuur%2C%20AK-MAK-740.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Theekom%20met%20een%20rood%20glazuur%2C%20AK-MAK-740.jpg","credit":"赤楽茶碗 17世紀 — Wikimedia Commons / CC0"}]},"essence":"低い温度で焼き、まだ熱いうちに窯から挟み出して外気で冷ます焼き物。鉛釉は流れきらずに厚くたまり、素地は軟らかく多孔質のまま残るので、同じ窯出しでも一点ずつ表面の景色が変わる。日本で成立した工程が、のちに効果を狙う技法の名にもなった。","cues":["厚くたまり、縁の手前で縮れて止まる釉","急冷でできた細かい貫入が釉の全面に走る","釉のかからない高台や底で、軟らかい素地がそのまま露出する","同じ窯から出した器でも、色むらの位置と量が一つずつ違う"],"intents":["静けさ","技術","親密"],"works":["一点ずつ仕上がりが違うことを前提にした器や陶製の照明を作るとき","工業製品の均質さから外して、手に持ったときの軽さと温度を残したいとき"],"recipe":{"type":"文字は面に置かない。銘を入れるなら底裏に小さく一つだけ。","layout":"手に収まる寸法。口縁の高さを揃えず、正面を決めずに回して見せる。","material":"低温で溶ける鉛釉。焼成の途中で鋏を使って窯から取り出し、外気で冷まして素地を多孔質のまま残す。"},"avoid":"貫入や歪みだけを表面の模様として描き足すと、力の掛かる場所と線が合わず、焼きの結果ではなく柄に見える。","colors":["#232019","#9C5B41","#CFC6B4"],"motif":"graphic","pair":["mingei","sumi-e"],"study":["ゲッティが raku (pottery) と raku (technique) を別の項目に分けている理由","低温で溶ける鉛釉と、素地が軟らかく多孔質のまま残ることの関係","窯から挟み出す道具が raku tongs として独立した項目になっている点"],"en":{"essence":"Raku is pottery covered with a lead glaze and fired at a very low temperature, with the piece pulled from the kiln while still hot and left to cool in open air. The glaze never fully levels and the body stays soft and porous, so no two pieces from one firing carry the same surface. The Getty vocabulary lists the Japanese process and the wider technique as two separate entries.","cues":["Glaze that pools thickly and crawls to a stop short of the rim","A fine crackle across the whole glazed surface, left by the sudden cooling","Bare foot rings and bases where the soft porous body shows through unglazed","Colour variation that lands in a different place and amount on every piece from one firing"],"works":["Making vessels or ceramic lighting where every piece is expected to come out different","Stepping away from industrial uniformity to keep an object light and warm in the hand"],"recipe":{"type":"Keep text off the body, with at most a single small mark under the foot.","layout":"Sized for the hand, with an uneven rim and no fixed front, meant to be turned while looked at.","material":"A lead glaze that melts at low heat. The piece is lifted from the kiln with tongs mid firing and cooled in open air, which leaves the body porous."},"avoid":"Drawing crackle and warping on as surface pattern puts the lines where no stress ever ran, and the result reads as decoration rather than as the record of a firing.","study":["why the Getty separates raku (pottery) and raku (technique) into two entries","the link between a low firing lead glaze and a body that stays soft and porous","the fact that the tool for lifting a piece from the kiln stands as its own entry as raku tongs"]}}