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KINTSUGI

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Seppō (Snowy Peak) teabowl, made by Hon'ami Kōetsu (1558-1634).

Kin-tsugi, "Gold Joining"

Japanese Kintsugi is a traditional art form that involves the restoration of damaged pottery using layers of natural Urushi tree-sap lacquer, often finished with gold. Sometimes silver is used (Gin-tsugi) or other metals and alloys such as copper, brass, platinum or aluminium. Sometimes no metal is applied and the simple beauty of the natural lacquer is used as the finish. There are as many approaches to creating kintsugi art as there are kintsugi artists – much depending on artistic and practical style, as well as the artist’s training, access to materials and tools and local environmental conditions.

A Kintsugi piece is highly regarded for its artistic value and is often considered more valuable than the original undamaged pottery. The carefully smoothed and polished lines contrast beautifully against the ceramic background, creating a striking visual effect. The piece now bears visible scars, transformed into intricate and glistening marks that trace the history, meaning and resilience of the object. Through the fusion of meticulous craftsmanship, precious natural materials and a philosophical outlook, these pieces of art become unique, cherished objects that inspire contemplation and appreciation.

The philosophy behind kintsugi extends beyond restoration. It embodies the Japanese aesthetic principle of wabi-sabi, which embraces the beauty of imperfection, transience, irregularity, authenticity and humility. The kintsugi object becomes a metaphor for life itself, embracing its flaws and scars as integral to its story and its value as a whole.

The use of urushi lacquer as an adhesive and embellishment for materials including ceramics and cloth dates back at least to 7040 BCE. The art of kintsugi - involving four classic kintsugi elements of ceramics, urushi, gold, and tea-ceremony - emerged much more recently; the precise beginnings remaining fairly misty...

In “Kintsugi: The Poetic Mend” Bonnie Kemske proposes that the famous Seppō, or ‘Snowy Peak’ raku teabowl (pictured above) well-represents the birth of kintsugi, both in terms of the materials and techniques used and the metaphoric power recognised in the art at the time of its making. The bowl was made by Hon'ami Kōetsu (1558-1634). Kōetsu was a highly respected art connoisseur, tea-ceremony devotee, painter, calligrapher, landscape artist, Raku ceramicist and maki-e artist (art made with lacquer and gold). He named the piece, clearly alluding to the kintsugi repair. It is possible that he carried out the kintsugi himself, accentuating the deep cracks with gold as a way to commemorate the deaths by seppuku (ritual suicide by sword) of his two teachers, who did not compromise their integrity.

Today the tradition of kintsugi is evolving globally, expressed through different materials, in diverse contexts and expressing meaning that is relevant to contemporary culture… such as generational healing, reparation, transparency, unravelling perfectionism and shame, mindfulness, slow culture, gratitude and sustainability.

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