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Kintsugi (Japanese: 金継ぎ, lit. 'golden joinery'), also known as kintsukuroi (金繕い, "golden repair"), [1] is the Japanese art of repairing broken pottery by mending the areas of breakage with urushi lacquer dusted or mixed with powdered gold, silver, or platinum. The method is similar to the maki-e technique.
The ancient Japanese art of mending broken pottery with gold is not only beautiful to look at, but it's a helpful reminder to not chase perfection. Learn more!
If you search online for "kintsugi," most of what you'll find in English is self-help advice that uses this Japanese craft as a jumping-off point. The idea of repairing broken pottery in a way ...
Pottery and porcelain (陶磁器, tōjiki, also yakimono (焼きもの), or tōgei (陶芸)) is one of the oldest Japanese crafts and art forms, dating back to the Neolithic period. [1] Types have included earthenware , pottery , stoneware , porcelain , and blue-and-white ware .
Kintsugi, Japanese art of repairing broken pottery. Origin of the concept. An iconic example used by Professor Masuda and Architect Johnson to illustrate the historical precedent for “Design with Memory” is the ancient Japanese tea cup which has been broken and visibly repaired (also see kintsugi, wabi-sabi). [2] "An 'old' value in eco ...
Known as "B" kiln because it was the second to be discovered, it is believed to have been in use between the 1640s and 1650s. At around 70 metres long and with 21 chambers, it was very large for its time. Managed by Saga Domain, the kiln used a lottery system to determine which chamber in the kiln each porcelain producer would use. Because the ...
Sodeisha was formed in opposition to the Mingei or folk-craft movement that was the dominant ceramic style and philosophy in mid-20th century Japan, and also in reaction to the aesthetic of rusticity associated with the tea ceremony inspired Shino and Bizen ceramics of the Momoyama Revival pottery of artists such as Kaneshige Toyo and Arakawa ...
Tatsuzō Shimaoka (島岡 達三, Shimaoka Tatsuzō, 27 October 1919 – 11 December 2007) was a Japanese mingei inspired potter who studied under Shōji Hamada and later became the second Living National Treasure of Mashiko, Japan. [1]