For a traditional Hon-Kintsugi repair, we use a paste called mugi-urushi to glue the pieces together. Mugi-urushi is a mix of fine flour, water, and ki-urushi lacquer which is the raw form of the lacquer. Once mixed it has to be kneaded until it stretches like gum.

Mugi-urushi is applied to the adjoining faces of the pieces before they’re stuck back together. Because mugi-urushi has a long cure time, it’s usually sensible to use tape to hold everything in place until it’s solid again. Unglazed sections are taped up entirely to avoid any accidental staining.

Another key ingredient to hon-kintsugi is time. The piece must be placed in a special curing box called a muro as urushi only cures under specific environmental conditions over the course of weeks or months. The lacquer will, in fact, continue to cure for years after the repair is complete, becoming stronger over time. Now that this piece is cured enough to be stable however, we’re able to move on to the next stage. Whilst the cup is now essentially ‘fixed’, its scars are fairly ugly and there are areas of open ceramic which could harbour bacteria if left as they are.

In order to fill the deeper gaps and chips, seal and open sections of raw ceramic and further strengthen the piece as a whole, we apply another mixture called sabi-urushi. Sabi-urushi is another compound, this time made with round stone/clay called Jinoko or Tonoko which is mixed with water and ki-urushi. This paste is then spread into the necessary areas before placing it in the muro to cure again. Depending on the size and depth of the crack, we may need to apply multiple layers of sabi-urushi to bring the area level with the surrounding face of the piece. Once level and cured, any excess sabi can be scraped, sanded, or wiped away before moving onto the next stage.

We can now begin to apply alternating layers of red and blank urushi until a smooth surface is achieved. Sometimes a piece will have a very gentle valley where the crack is, sometimes it will be flush with the surrounding areas, and sometimes it will be slightly raised. It all depends on the number of layers applied and if a specific result is desired. Each layer can take a couple of days to a week to cure in the muro.

Whilst the cracks certainly look forged in metal, they are actually the final layer of the process. One last layer of lacquer is applied and finely ground metal powder is dusted across the surface. As the lacquer cures, the metal sets into the surface and can then be burnished using an agate tool. Whilst Kintsugi refers specifically to pieces restored using gold, other metal powders have traditionally been used including silver (as in this case) brass, and aluminium. If you’d like an alternative look to those we currently offer, we’re happy to investigate options.

Once the lacquer has cured, the piece is finished. The piece can now be used again, kept somewhere safe, or whatever you like. Depending on the metal powder used, the piece will now be food safe although it should not be exposed to high heats or put in a microwave or dishwasher. Whilst the piece has been repaired, it will still break if mistreated. The kintsugi process is now complete and has added to the story of the piece, ensuring that it can still be used and appreciated well into the future.