Hey everyone!

I'm currently working on my first couple of kintsugi projects. I started them about a month ago and have made some good progress already. Everything is put together and I'm working on some chips for some projects, while other projects only had breaks and hairline cracks so I've now reached the roiro stage with those already.

I've successfully kept the humidity between 60 and 70% during the past month, and the indoor temps were consistently between 20 and 25°C which has worked well for me. Everything has cured so far (I checked with a precision knife) except for that one time I made my kokuso layer too thick and it became wrinkly.

But now the days are getting colder and I no longer can keep the indoor temperatures over 20°C due to the high electricity prices. And I'm wondering how this will affect the curing time. So far I've had to let it cure 1-1,5 week in between layers. •••Has anyone here done kintsugi in lower temperatures and have you noticed a difference in curing time? And how long do you typically cure it for?••• My biggest concern is that I don't end up curing it well enough and either it coming apart when making/drinking tea, or still having urushiol present and leaching into my tea.

I've searched this sub and couldn't find the specific information I'm looking for. I did read that a heating mat might be an option for colder climates but I don't have one and currently can't afford one either.

From the collection of the Freer Gallery of Art of the Smithsonian National Museum of Asian Art. 

Edo Period Hori Mishima Style Tea Bowl

• Body: Edo Period, Kyushu, Japan
• Kintsugi: Date unknown.
• https://asia.si.edu/explore-art-culture/collections/search/edanmdm:fsg_F1904.322/
• https://collections.si.edu/search/record/ark:/65665/ye388bb697c8c1f49d09a0aa96691fc8a3a

Howdy all. My 3 year old painted a pot at one of those pottery houses.

She then was showing it off and dropped it.

I recognise the chance of it being used as a bowl is slim, but given it has sentimental value, would like to put it back together.

What is the best glue for a fix?

What about the Japanese Kintsugi repair method?

Thanks in advance

My late grandmother's Buddha has an interesting crack. It would make for a beautiful kintsugi project one day.

#kintsugiart #kintsugirepair

Whenever the topic of breaking items on purpose comes up, there are always several people quick to comment about how they feel it goes against the traditional philosophy of kintsugi and wabi-sabi, according to their own interpretations.

But is it actually traditionally frowned upon? I've been trying to find any sources at all, but despite how widespread this position seems to be (at least in the West) all I could find was anecdotes about Furuta Oribe intentionally breaking a bowl to make it smaller.

Am I missing something, or is this a somewhat orientalist addition to a traditional practice?

ETA: a word

I’ve had the great opportunity to travel to Japan several times in the last few years and have visited flea markets in Kyoto and Tokyo where I sometimes see broken pieces of ceramic for sale. I should have asked the sellers but I’m wondering if anyone knows if these pieces are for kintsugi projects? I’m almost too afraid to ask what the prices are but next time I will!

I’m looking for some advice on the best way to approach this panel. The picture is a mock-up of what I’m trying to achieve.

My plan is to route/engrave the fracture grooves approximately 1/16–1/8" (1.5–3 mm) deep into a prefinished wenge panel. The panel itself will already have an oil and shellac finish, but no wax, and routing the grooves will expose fresh wood for the urushi.

Before engraving, I plan to mask the entire face with two layers of polyimide tape—one with the grain and one cross-grain—followed by painter’s tape as a sacrificial layer so I can draw the fracture pattern directly on it.

For the metallic fill, I’m considering 350-mesh brass powder mixed with Neri Bengara urushi. I would thin the urushi as needed, then gradually add brass powder and mix thoroughly. My thought is to make it fairly brass-heavy and thick—almost a molasses-like consistency—but still fluid enough that I can brush it into the grooves in very thin layers. If that assumption is wrong, please correct me.

I have two main questions:

1. Will fully cured urushi bond properly to the previous urushi layer if I cannot sand between coats?
On my last three urushi projects I was able to sand between layers, but these grooves will only be around 1–3 mm wide, so sanding inside them between every coat may be physically impossible.

2. Is Neri Bengara the better urushi for building these brass-filled grooves, or would Kijiro urushi be preferable?
I already have Kijiro on hand from doing fuki-urushi, but I can purchase Bengara if it is better suited to this application.

My eventual goal is to build the brass/urushi slightly proud of the surface, allow it to cure completely, and then hand-sand it flush so the lines read as closely as possible to solid brass.

Thank you for taking the time to read this. Any advice from people experienced with this type of urushi/metal-powder work would be greatly appreciated.

Gold Scheurich Keramik Harlequin featuring the colors of the Palestinian flag as a tribute to the Palestinian struggle, resilience, and hope for a just and peaceful future

.

#lakesidepottery #kintsugiart #kintsugigallery #scheurichkeramik #goldkintsugi

#lakesidepottery

I wanted to share this piece that I just finished up. I wasn’t able to use pins to reinforce it, so I went with washi paper and nori-urushi. The owner requested copper finish. I’m quite happy with how it turned out.

In Japan, the manufacturer of *tonoko* is set to go out of business by the end of the year, causing something of a panic within the lacquer industry.

Major lacquer shops like Tsutsumi and Minowa have already sold out of their stock.

Procuring *tonoko* for *sabi-urushi* (lacquer putty) applications may become difficult in the future.

I recommend that anyone who practices *kintsugi* professionally gather information on this situation.

#tonoko
#sabi
#kintsugi

Hi all! I have been doing kintsugi with the beginner kit from Tsugu Tsugu for a few years now. Great kit, but I threw away the leftover raw urushi today as it had gone bad. I need more - am in the middle of a big project with some cherished pottery from Mexico.

Price of a tube of raw urushi on Tsugu Tsugu is $13. No problem there. But shipping is $65!! I figure it’s those 🤬 tariffs again.

Can’t find any decent sources in the USA - the prices are like $50 plus shipping. Anyone have tips? If I had realized, I would have bought some in Singapore last month but now I won’t be back in Asia for at least a year 😭

I was clumsy today and broke my favorite mug of several years. Thankfully the pieces are large and still fit together. I don't want to just slap on epoxy and call it a day. I want it restored with all the fine skill and craftsmanship a pottery artist has to offer. Especially kintsugi!

Does anyone know a good place they'd gone to before and would recommend?

FWIW, I did come across Unbroken Kintsugi, but their insta looks like its been dormant for the past four years... so hard to tell if they're still doing business. I'm also just a normal rando with a mug, so its not like I'm a restaurant or industry partner that would be able to pay for like, 1000x ceramic repairs wholesale.

Thanks in advance!

Hello! I do traditional kintsugi repairs and have always used maru gold as a finish when gold is requested, as it is more durable in my experience. However there are times when the matte finish of keshi seems more appropriate for the look of the piece. Does anyone else doing traditional repair as a service for others use keshi finish? How has it worked for you, durability-wise? Thank you.

I was looking for a way to hold a piece while working that would reduce the chances of getting my fingers in the urushi. After some research, I stumbled upon these tongue forceps.

The rubber tips make them suitable for use with ceramics, and they lock securely when closed. Once attached, they can be used as a handle, so you no longer have to touch the piece and risk smudging or disturbing your lines.

You could also clamp the forceps in a vise, which leaves both hands free to work.

I’m working on a project where I need to create several pieces of porcelain that are missing from a bowl. The porcelain is very delicate (approx 2-3 mm thick). I think it’s too thin to build with kokuso urushi alone. Have people had luck creating urushi impregnated fabric meshes? Any other techniques?

This belonged to my wife’s dad, who died recently. They dropped it last week and it broke into about 8 pieces. All are relatively flush except for a missing 1x1/2” chunk at the chin you can see here.

Not sure yet about materials or whether I’m looking for traditional or modern kintsugi, but I thought I’d get an idea of what’s possible. I’m looking for people with some experience, since it’s a sentimental piece.

Northern CA, USA, but we can ship it further.

Two craftsman helped me to repair this broken Dunhill pipe.

I received this burnt pipe several years ago, with a few other fine pipes.

Recently, I asked a good pipe maker repair it, and then a kintsugi (gold repair shop) applied pure gold lacquer to the cracks.

It will last for decades more.

Hope every pipe lover cherishes their pipes and avoids using high-temperature torches; if the pipe over heat, stop and wait few minutes for smoking.

Hello!

For my first project, it seems the bead I left is a little bit too thick. Can I sand this down somehow?

Thanks

I ordered from Hikaru Kintsugi Repair Kit, hoping to repair a teacup that belonged to my mother. They did not specify that there would be customs to pay at the time of ordering (almost 40 dollars), which I did pay promptly. Fedex never delivered the package, and Hikaru Kintsugi Repair Kit has been ignoring my emails regarding the non-delivery of the items completely, even when I sent them the proof that Fedex had sent the items back to the sender! They did, however, send an automated "rate us" email, which I find extremely unprofessional. Avoid.

I also saw another thread here where the person received their kit, with the bowls already broken (so the packaging is not fantastic). They also have a very punishing return policy on their website, EVEN when it's their own fault. Again, avoid.

Save your money, and hire a local artisan OR learn how to do it with a cheap online kit before moving on to the actual food-safe items. They have a non-existent customer care department, it will only be a headache.

Song Dynasty Jian Ware Hare’s Fur Glaze Bowl

From the collection of the Metropolitan Museum in New York. 

• Body: Northern/Southern Song Dynasty, China
• Kintsugi: Date unknown, executed in Japan. 
• https://www.metmuseum.org/art/collection/search/52595

Hello everyone,

I'm asking for your advise regarding a mistake I've made: the inside glaze of a cup I'm currently working on was less smooth and more porous than I thought. After removing the Sabi, all those tiny holes discoloured and I'm unable to remove it so far. I haven't run into issues on the unglazed outside surface (picture 2), but have a similar issue on another piece with real pinholes (picture 3) that I've filled at the same session.

I know, i should inspect the surface more thoroughly in the future and tape accordingly. But is there and option to still remove the Sabi now (it is cured already).

Thank you for your help!

I was completely gutted when this happened. Couldn't bring myself to throw it out and thought this process might actually look great. I've done a small bowl but I need help on this one.

Stoneware. Less than 1/4 inch thick in most places.

I don't know how I can fill such large gap in the second picture though.

Also, there are about 3 cracks in the remaining pieces that have a slight amount of wiggle. Should I complete the breaks and reattach? Or are the cracks fine as they are?