修復 Kyoto · Est. 1987

Nothing beautiful
is ever finished.

We mend quiet objects with urushi lacquer and powdered gold—allowing the break to remain visible, luminous, and true.

Witness a repair

44 / seam registerEvery seam records a moment the object could have ended.

I — The break

A vessel
lets go.

Scroll slowly. There is no repair without first seeing the shape of what was lost.

A celadon vessel breaking and repairing with gold As the page scrolls, ceramic shards separate and later return while golden lacquer flows through their cracks.

00 / 100  ·  seam study no. 44

間 · the meaningful interval

The pause is part of the craft

Do not hurry
the broken thing.

A fresh fracture has its own geography. We number each shard, clean every edge with a bamboo pick, and leave the vessel untouched for seven days.

Only then does repair begin. The pause is not inactivity. It is the moment we learn where each piece wishes to return.

“The gold does not disguise the wound. It gives the wound a horizon.”— Akari Mori, second-generation restorer

Objects with a second life

The repair
archive.

Three vessels, three accidents, three maps of return. Each remains in daily use.

Moon Jar · 1994 / repaired 2021

After the northern shelf fell

A winter tremor sent this family jar into eleven pieces. Its longest seam follows the old potter’s throwing line.

fragments
11
seam
38.2 cm
gold
18.6 g

Tea Bowl · 2012 / repaired 2012

Three breaths before tea

Dropped on the morning of its first ceremony. The host kept every fragment and served tea from it forty-two days later.

fragments
6
seam
19.4 cm
gold
7.2 g

Flower Vessel · 1968 / repaired 2024

A garden door in summer

A gust, an open shōji, a falling branch of quince. The new seam branches upward like the flower it once held.

fragments
8
seam
31.7 cm
gold
12.1 g

Urushi, patience, pressure

A repair measured
in seasons.

Traditional hon-kintsugi uses no synthetic adhesive. Time is our most important material.

  1. 01

    Read the fracture

    Edges are cleaned, matched and mapped. Nothing is forced.

    7 days
  2. 02

    Join with mugi-urushi

    Rice flour and raw lacquer form a patient bond.

    21 days
  3. 03

    Build the seam

    Layers of sabi and black urushi are cured in humid darkness.

    45 days
  4. 04

    Sow the gold

    Fine 23.5-karat powder settles onto the final wet line.

    1 breath

A small digital ceremony

Break it.
Stay. Mend it.

Replay the vessel’s passage. Each break scatters differently; every return follows the same gold.

Studio visits

Thursdays by appointment
Higashiyama, Kyoto

Request a quiet hour