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Raku Sculpture Masks

Raku Sculpture and Raku Pottery created in Switzerland
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J.W.Gruber
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Raku Sculpture
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Original Raku Sculpture and Raku Pottery Created by Artist
J.W.Gruber

Raku BowlRaku Bowl
Raku BowlRaku Bowl
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These pendant Raku pieces are approx. 1-3/4 inches in length. They were inspired by Joseph Cambell's "Masks of Eternity". The white and colored crackle glazes worked beautifully on the porcelain that was used to create them. Sawdust was used to reduce the exposed clay to a nice charcoal black and penetration into the glaze crackle is excellent!

be sure to visit my store where you will find a variety of handmade items such as sculptured handle stoneware mugs, porcelain Angels, stonewares, sand castles and more! and for Raku Sculptures for sale check
out the Raku Main link.

Raku Masks
raku sculpture mask
raku sculpture mask
raku mask sculpture butterfly
raku sculpture mask
raku sculpture mask
raku sculpture
raku sculpture masks
raku sculpture masks
These Raku Pendent Mask Sculptures were created at my brother's studio in La Chaux de Fonds, Switzerland. Raku as a sculptural technique is relatively new compared to the origin of it's inception and even older when considering the birth of it's inspiration. Originally the Raku technique was used to create tea sets for the Japanese tea ceremony. The Raku technique is that of a very fast kiln firing to a lower temperature maturity. When maturing temperature is reached (usually from 1750 to 1850 degrees F) the ware is removed immediately and cooled in water. The result is an economical, aesthetically pleasing, pottery that does not cause an offensive sound if the teapot should touch the tea bowl. Raku came to mean an appreciation of the natural order of things that are fresh and uncomplicated. Raku espouses the spontaneity of events, almost accidental, where the elegance and uniqueness of "imperfections" may be seen from a perspective of unpretentious beauty
Creating the beautiful crackle patterns on these raku masks was a challenge. Raku is a firing technique where the clay piece is brought to glaze melting temperature as quickly as possible. Once the glass of the surface has thoroughly melted it is removed from the hot fire. The timing of the removal and its associated reduction births the final expression.
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