This is one of the most ancient pottery techniques, first used in Sardinia in the pre-nuraghic period (2200-2000 BC), as demonstrated by several finds in the Anghelo Ruju necropolis in Alghero. In bucchero the earth turns black, as opposed to red, on account of the lack of oxygenation during firing. This phenomenon occurs due to the iron contained in the clayey mixture which, in the absence of oxygen, regains its natural blackish colour, accentuated by the carbon dioxide produced by the smoke from combustion.
Raku means "living in harmony with things and people". This technique was devised in Japan in the 16th Century to create bowls for the tea ceremony, in accordance with the spirit of Zen philosophy. In Raku firing, the piece is removed from the kiln when it has reached the enamel fusion temperature (920-940°); subsequently it is covered in sawdust, which catches fire when it touches the white-hot object. The combustion is stopped and the piece is covered in order to retain the smoke, which gives the article a blackish glaze characterised by unusual and striking reflections.
The sobriety of colors, rich and refined but respectful of the formal rigor that is paramount in our ceramic production, does not interfere with the essential shapes, which dominate the space with their sharp silhouettes.
The glazing techniques used are our homage to the ceramic tradition in Italy and Europe.
Whether the pieces are simple, elegant monochrome shapes, or colorful bas-reliefs rich in meticulous, delicate details, they are a tribute to the great history of Italian majolica and to the pictorial techniques that made it known throughout the world.
The piece, which has already been fired twice at 960° C, undergoes a third firing at approximately 800° C, this time without oxygen. The smoke from the combustion that results is absorbed by the enamels which are still in their melted state and, in a redox reaction, the mineral salts present in the colours are transformed producing superb effects of lustre and iridescence due to reflection of light. The sober hues, precious and refined while respecting the formal rigour which is the hallmark of all our ceramic artwork, do not interfere with the simplicity of the forms which stand out starkly in space with their sharp, austere contours.