✨ When Kintsugi Reinvents a Carved Cypress ✨
- Didier Fallières
- Mar 16
- 6 min read
Updated: Mar 25
Rebirth of a Broken Statuette
Patience and expertise guide each movement. First, gather the fragments, restore the shape, and fill the void. Then, sculpt, refine, and smooth the material until harmony is restored.
Gathering the Fragments
The first step is to bring together the broken pieces and carefully adjust them to restore their original arrangement. To facilitate the final assembly, each fragment is meticulously numbered.
Before beginning the repair, several dry fittings are conducted to identify missing parts, particularly the upper section of the cypress, which will need to be recreated. Filling this gap will require a specific technique, applied in a later phase, to ensure a harmonious and faithful restoration. In this way, Kintsugi reinvents the object by enhancing its scars, transforming the fracture into a unique aesthetic and narrative element.
2. Assembly Using Mugi Urushi Adhesive
Once the fragments have been carefully identified and numbered, the assembly process can begin. This step relies on Mugi Urushi, a traditional adhesive made from urushi lacquer and wheat flour, known for its strength and durability.
Preparation of Mugi Urushi
Mugi Urushi is prepared by mixing urushi lacquer with fine wheat flour, creating an adhesive paste capable of firmly bonding ceramic pieces together. This natural glue, used in the traditional Kintsugi technique, ensures a lasting bond while preserving the integrity of the object.
Application and Assembly of the Fragments
• A thin layer of Mugi Urushi is applied to the edges of the fragments to be joined.
• The pieces are then carefully pressed together to ensure optimal contact.
• Any excess adhesive that appears during the pressing process is gently removed to avoid irregularities.
Drying Time: A Crucial Step
After assembly, the piece is left to dry in a controlled environment, often inside a humidity box (muro) to allow the lacquer to polymerize properly. This stage can take several days or even weeks, depending on drying conditions and the thickness of the Mugi Urushi applied.
Once the adhesive has fully cured, the restoration continues with filling the gaps and recreating the missing part using the sabi mixture.
3. Filling the Gaps and Creating the Missing Part with the Sabi Mixture
Once the bonding has solidified with the Mugi Urushi, the restoration moves to a new phase: filling the gaps and creating the missing part, an essential step to restore the piece’s shape and integrity.
Preparation of the Sabi Mixture
Sabi is a traditional mixture used in Kintsugi to fill the missing areas of the piece. This mixture consists primarily of ki urushi lacquer and tonoko/jinoko, which helps recreate the original texture and structure. This mixture results in a paste with the perfect consistency to mimic the surface of the original material while integrating the cracks or missing parts harmoniously.
Application of the Sabi
• Once the Sabi mixture is prepared, it is carefully applied to the missing parts of the piece.
• The paste is smoothed and shaped to match the form of the object, ensuring that the original contours and textures are respected.
• This application may be done in several successive layers, with each layer needing to dry before the next one is applied, to ensure a solid and stable repair.
Refining and Sculpting the Missing Part
After each layer of hardened Sabi, I proceed with sanding and refining the surface to smooth out the filling and make it perfectly homogeneous with the object. This step allows the repair to have a natural appearance and ensures that the transitions between the restored part and the original surface are seamless.
Drying and Preparation for Finishing
Once the Sabi has been fully applied and the surface refined, the piece must be left to dry completely before moving on to the next step.
Thus, thanks to the Sabi, each missing part is carefully restored, and the object regains its integrity, ready to undergo the next steps of the Kintsugi process.
To recreate the missing upper part of the object, I insert a small bamboo tube, chosen according to the appropriate size and shape. The surface is then sanded with a #400 grit to create a slightly gritty texture. Once this base is ready, Ki Urushi is applied to firmly attach
the bamboo tube to the inner wall of the ceramic, ensuring the stability of the assembly.
Application of Kuro Roiro lacquer in Kintsugi
Kuro Roiro lacquer is an essential element in the Kintsugi process, especially when restoring ceramic objects. Primarily used to strengthen repairs and create smooth and harmonious transitions between the various layers of Sabi, this black lacquer is distinguished by its role as a binder and protector.
Role and use of Kuro Roiro lacquer
Kuro Roiro is a black lacquer commonly used in the repair and finishing of restored pieces in Kintsugi. It is applied for several reasons:
• Solidifying the filling: The lacquer helps reinforce the structure and solidify the areas filled with the Sabi mixture, ensuring better adhesion between the different layers.
• Enhancing shaping: It creates a smooth surface that facilitates shaping and sculpting, making sanding and refining the repairs easier.
• Aesthetics: It is also used to highlight the repair line before applying gold powder, thus contributing to the visual balance of the piece.
Application of Kuro Roiro lacquer
1. Surface preparation: Before applying the Kuro Roiro lacquer, the surface of the piece must be properly prepared, usually after the application of the Sabi mixture. It is essential that the repair is hardened and stable before applying the lacquer.
2. Application of the lacquer: Kuro Roiro lacquer is applied in a very thin and even layer to the filled areas. It must be spread using the appropriate brush for the area being worked on to avoid any marks or excess. This layer creates a smooth surface that will facilitate shaping and sanding the repairs.
3. Securing the lacquer: After application, the lacquer must dry under appropriate conditions. A complete drying time is crucial to ensure the stability and strength of the repair before proceeding to the next steps.
4. Sanding and refining: Once the lacquer is dry, the sanding process can begin. Progressive sanding (with grits ranging from 800 to 2000) smooths the surface, removes any irregularities, and prepares the piece for the final application of gold powder.
Why Kuro Roiro is essential in Kintsugi
Kuro Roiro lacquer provides a polished and refined finish to the restoration work, ensuring not only strength but also an aesthetic that highlights the repairs while harmonizing the different parts of the object. It also offers some flexibility in shaping, allowing for natural and smooth transitions between the old and new material.
In summary, Kuro Roiro lacquer is a key element in Kintsugi, providing both resistance, aesthetic finishing, and harmony in repairs, and contributing to the authenticity and beauty of the restored object.
Application of gold powder, e-Urushi lacquer, and Keshifun technique in Kintsugi.
The application of gold powder, e-Urushi lacquer, and the Keshifun technique is one of the most delicate and aesthetic steps in Kintsugi. These elements are used to enhance the repaired cracks and transform a broken piece into a unique work of art, celebrating the history of time and craftsmanship. Here are the steps of this process:
1. Application of e-Urushi lacquer (Bengara)
e-Urushi lacquer (or Bengara) is a traditional lacquer essential in the Kintsugi process for fixing the gold powder. It ensures a strong and durable adhesion of the gold.
2. Application of e-Urushi lacquer
After the drying and sanding of the Kuro Roiro lacquer, e-Urushi lacquer (Bengara) is applied in a thin layer to the repaired areas. This thick red-brown lacquer serves as a solid base for fixing the gold.
• Application of e-Urushi lacquer (Bengara): A very thin layer of this lacquer is applied to the cracks and restored parts. It acts as a binder, ensuring perfect adhesion of the gold powder and allowing the repair to last over time.
• Drying of e-Urushi lacquer: The e-Urushi lacquer must dry in a controlled environment, with specific humidity and heat, for several days to ensure stable and durable adhesion.
3. Application of gold powder and Keshifun technique
Once the e-Urushi lacquer is pre-dried, it’s time to proceed with the application of the gold powder using the Keshifun technique.
• Keshifun technique: This technique involves applying a thin layer of gold powder using a brush or Mawata silk, tapping or gently applying the powder onto the lacquered surface. The Keshifun allows for precise application, creating delicate gold lines that highlight the beauty of the cracks.
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