They are raku-yaki, awata-yaki, iwakura-yaki and kiyomizu-yaki.
Raku-yaki is essentially the domestic faience of Japan; for, being entirely hand-made and fired at a very low temperature, R ~ its manufacture offers few difficulties, and has consea quently been carried on by amateurs in their own homes at various places throughout the country.
The raku-yaki of KiOto is the parent of all the rest.
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.