But the term raku-yaki did not come into use until the close of the century, when Chjiro (artistic name, Choryu) received from Hideyoshi (the TaikO) a seal bearing the ideograph raku, with which he thenceforth stamped his productions.
The raku faience owed much of its popularity to the patronage of the tea clubs.
He took for his models the raku faience of KiOto, the masterpieces of Ninsei and Kenzan, the rococc wares of Korea, the enamelled porcelain of China, and the blue-andwhite ware of Delft.
Its only notable production of a ceramic character was the work of Miura Kenya (1830-1843), who followed the methods of the celebrated Haritsu (I 6881704) of KiOto in decorating plain or lacquered wood with mosaics of raku faience having colored glazes.
Current Work Raku and smoke fired figurative ceramics and bowls.