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near Wakayama in the first half of the nineteenth century; and again in the name Kiraku, a potter of the nineteenth century in the Province of Kii as well as in the more famous Eiraku line of potters who worked first at Kutani and later at Kyoto.

      Raku has come to mean the general type of pottery preferred by cha jin. The raku in Eiraku is the Japanese pronunciation of the name of an emperor of the Chinese Ming dynasty, Yung Lo; while the raku elsewhere is the character which means pleasure, or amusing accomplishments. The family name of the potters who use the artist name of "Raku" is Tanaka, and in private life they are known as such. Japanese authorities designate as Raku kei a line of potters beginning in the sixteenth century, most of whom have the syllable "nyu" in their professional names. In this sense Raku kei means "House or Line of Soft-Pottery-Made-for-Amusement Makers." Also this line of raku pottery makers has two branches, one known as the Principal Kiln (hon gama) operated by the legitimate successors to the Raku seal and Branch Kilns (wake gama) operated by others than the major line of potters.

      This Raku line of successive master potters is an excellent illustration of the custom, followed in all branches of Japanese art, of the master artist naming as his successor to the responsibility of carrying on his style of craftsmanship that one of his pupils he considers best able to do so. If the master's eldest son is a capable artist he of course becomes his father's successor but in case of there being no son to inherit or of the son lacking in ability the master appoints his best pupil to be his successor and use his name. Thus it comes about that the geneology of an artist family is often most irregular; and this is rendered more difficult of understanding by the equally common custom of an artist assuming various names at different times in his life; sometimes, indeed, an artist will use two or more names simultaneously. The knowledge that it was a common practice of a master artist to grant a favourite pupil one character of his name tends a little to reduce this confusion (though sometimes an admirer of an artist borrows a part of that artist's name out of the desire to pay him a compliment!) Other than using a part of their teacher's name, Japanese artists take names referring to or indicating their age, their physical condition (as "the deaf" or "the left-handed), or a part of the name of the district in which they were born or worked.

      Two styles of footrim found in Japanese raku yaki and pottery.

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