Kintsugi - Gold Repair | Camellia Teas of Ottawa

Kintsugi (Gold Joinery Repair)

Kintsugi (金継ぎ – Kin = gold; tsugi = joining/joinery), also known as kintsuroi, is a traditional Japanese ceramic repair practice that developed over centuries years ago in Japan. Rooted in lacquer craftsmanship and the culture of chanoyu (the Japanese tea ceremony), kintsugi restores broken vessels by joining fragments with lacquer and precious metal, allowing repairs to remain visible rather than concealed.

Click these images to see more of Rebecca’s kintsugi (gold joinery) work on Instagram:

How and why did Kintsugi develop in Japan?

One oft-cited historical anecdote tells of a treasured tea bowl sent to China for repair and returned with metal staples, a technique still practiced with great care and beauty, today. While details of this story vary, it reflects a broader historical reality: Japanese artisans developed lacquer-based repair techniques that emphasized continuity, respect for materials, and the acceptance of visible mending as part of an object’s life.

Kintsugi does not attempt to return a vessel to an unbroken state. Instead, it acknowledges breakage as part of the object’s history and allows the repaired piece to continue in use — often with a renewed presence and beauty.

Why repair with kintsugi?

When a cherished object breaks, it can feel impossible to throw it away — yet equally difficult to live with a box of fragments. Kintsugi allows a piece to return to its original form or function so that it may be used, held, and appreciated once again. Kintsugi is one of several options available to you: you may seek out the skills of a conservationist, or an artist who can repurpose the fragments into a completely new form.

In the case of kintsugi, a repaired piece develops a new visual balance and quiet strength. The purpose of kintsugi is not to disguise damage, but to honour the object’s material life and extend it forward with care.

How kintsugi is done

Traditional kintsugi relies on natural urushi lacquer — harvested from the lacquer tree — as both adhesive and surface medium. Methods have historically varied by region, period, and workshop, and each repair responds to the material, weight, and intended use of the object. Traditional kintsugi repairs are food safe, however they cost much, much more to do and take more time due to the tight humidity and heat controls required over the entire course of their curing. In Japan, the climate is conducive to repairs in the summertime when humidity and heat is very high. Outside of Japan, MURO (or humidity/heat chambers) must be constructed and constantly monitored to ensure that curing takes place properly. Even the slightest dip in temperature, humidity, or a layer applied in haste or overly quickly, can result in wrinkles in the lacquer which must then be sanded and redone.

Contemporary kintsugi honours the aesthetics and approach to repair, but can use modern materials that are synthetic and faster-curing (hardening) that are more budget-friendly (however not food-safe). This approach is great for those who are seeking the beauty and concept of kintsugi, without the high price tag.

Assembly
Broken fragments are carefully aligned and bonded. Assembly is done gradually, allowing each pair to cure fully before additional pieces are added.

Curing and polishing
After curing is complete, the sanding and cleaning work begins. To create a beautiful line of gold, the surface must be smooth and uniform.

Gold linework
Once the piece is structurally sound and smooth, a thin layer of lacquer is applied along the fracture lines and finished with gold powder. This stage requires precision, patience, and careful control of lacquer viscosity and timing of the application of gold.

Materials, methods, and approach

My kintsugi practice is informed by formal training in Japanese art disciplines in Japan, decades of hands-on ceramic repair experience, and ongoing exploration and practice of traditional and contemporary materials and methods.

I work with a wide range of materials and techniques, which may include fully traditional, food-safe repairs using lacquer, as well as more decorative or budget-conscious approaches when the client prefers. Each repair is discussed individually, and together we determine what is most pragmatic, realistic, and respectful of both the object and the intentions for it.

If a functional repair cannot be made safely or reliably, I will advise against it. I do not undertake repairs intended for use if I believe the result would compromise structural integrity or longevity.

I do not offer paint-based, imitation, or purely decorative “kintsugi-style” repairs.

My Kintsugi background

I began repairing my own ceramic tea bowls around 2009. After seven years of training in Japan (1998–2005) in Ikebana, Suibokuga brush painting (over 4,000 hours of private lessons which also included seal carving, nihonga, and shodō (calligraphy), Tea ceremony (training in four different schools including chanoyu and Sencha Do) and kimono dressing (competing nationally), I gradually incorporated kintsugi into my art practice. I bring decades of material experience and skills to each repair, as well as cultural sensitivity and a love for the precious.

At first, my clients were close friends and family. Over time, the circle of clients grew to include people from all across Canada who found my work through social media.

As a quiet practitioner of the art of repair, I take very seriously the responsibility to you, my client. From time to time, I post photos that I find beautiful on my page. Some photos are of my traditional kintsugi repairs, others are decorative and others still are restorations. I have great admiration for kintsugi practitioners worldwide. We all have our area of focus and passion. For some, it is exclusively focused on repair (like me). For others, they delight in bringing the peace and satisfaction of seeing a piece come together through teaching and workshops. After many years in the classroom dedicated to teaching English, French, Japanese, art and culture – I have enjoyed retreating to the tranquility of the studio, where I can devote myself exclusively to repairing objects.

Kintsugi is meticulous and time-intensive. Understanding lacquer behaviour, timing, curing conditions, and line quality comes only through practice and patience. I approach each piece individually, with respect for its value to you.

A note on ‘authenticity’
The kintsugi process is not static: it has and continues to evolve in Japan. New techniques and materials are being developed in Japan all the time. While we can point to moments in time before the arrival of modern tools – the fact is that most practitioners today, make use and benefit greatly from these innovations. Whether it is the now standard use of glass palettes, or nylon brushes, tools made now of sturdy plastic or water droppers of glass and rubber – protective latex gloves or higher concentrations of alcohol to clean tools more effectively and efficiently – the essence of kintsugi is the same: taking a broken and precious object and reassembling it beautifully.

Practitioners also differ in their approach to their use of materials and how they use them. I believe one thing that all practitioners worldwide share, no matter what materials or techniques they use, no matter the stage of their learning and evolution in their craftsmanship, is that this is an art in service of others: the kintsugi repair-person is there to solve and serve the needs of their client’s relationship with the damaged or shattered object. In this, we unite in purpose: to soothe the disappointments of a cherished heirloom that has been broken and bring it back into wholeness.

FAQ – Kintsugi by Rebecca Cragg

Q: Can you repair my item?
A: Probably. Before your piece arrives, we discuss options, budget, and timeline to determine a quote. Small repairs (a teacup or simple 2–3 piece repair) start at $150 CAD, and larger or multi-fracture repairs range $250 or more, depending on the style of repair you seek. I require a 50% deposit before work begins. I do not undertake functional repairs that cannot be completed safely or reliably.

Q: What materials can be repaired?
A: Ceramic and porcelain are ideal. Some lighter stone, wood, jade, or glass pieces may also be repaired. Very heavy or structurally complex pieces (e.g., large glass lampshades, multi-part handles) may not be suitable for safe repair (for example pieces that must hang on a wall and are heavy, or sculptures where gravity will adversely affect the curing process.

Q: How long does a repair take?
A: The timeline varies with the complexity of the piece. Assembly and initial bonding may take several days to weeks. Gold linework is applied gradually, with a curing process that can last weeks to months. I generally recommend planning 8 – 10 weeks for a complete repair. This is also conditional upon the time of year: generally I do not undertake repairs in the summer due to extreme fluctuations of temperature.

Q: Are repairs food-safe? Can I use the microwave or dishwasher?
A: Repairs using traditional urushi and gold powder are food-safe. Due to gold’s sensitivity, do not microwave or use a dishwasher. Gentle handwashing is recommended; avoid soaking in very hot water.

Q: What techniques and materials do you use?
A: My approach integrates traditional Japanese urushi lacquer methods, alongside contemporary or other materials when structural stabilization is needed. I also offer decorative or budget-conscious approaches where appropriate. Together, we determine the most practical, respectful, and effective method for your piece. I do not offer paint-only or imitation “kintsugi-style” repairs.

Q: Can I mail my item?
A: Yes. Items should be sent by registered, trackable mail to protect against loss. Shipping costs are the responsibility of the client. Local drop-offs are also possible to arrange.

Q: How do you determine pricing?
A: Quotes are based on complexity, size, number of fractures, and time required. Once I receive your piece, if it has shattered further in transportation and this will affect repair, I will contact you with photos and we can decide if we will proceed or not. Payment options include e-transfer, PayPal or cash.

Q: Do you teach classes or workshops in kintsugi?
A: No: my practice and focus is dedicated to repairing cherished pieces with care and precision, guiding their restoration rather than teaching. While I do not offer lessons or workshops, kintsugi is widely accessible through books, videos, and online resources. There are many teachers of kintsugi who also offer online classes now as well, and great teachers around the world you can discover. The greatest teacher of all however, is courage! You can do it – it just takes time and repetition once you’ve explored the basics, you just need practice and great patience.

Q: What kits or materials do you recommend for practicing kintsugi?

A: I do not sell materials and do not receive any benefit from kit suppliers. For those interested in exploring their own kintsugi practice, I recommend well-regarded, comprehensive kits such as the Advanced POJ Studio Kit. These provide the basic tools, lacquer, and gold powder needed to begin practicing safely at home. I am also a great admirer of David Pike, and had the pleasure of meeting him in Nara and bringing his tea bowls back to exhibit in our gallery in Canada in 2009. He has a wealth of informative videos as well as materials available for sale. He has lived in Japan for most of his adult life and is passionate about Japanese culture.

Tip: Always follow the included instructions and prioritize safety, especially when working with traditional urushi lacquer.

Q: When is kintsugi work done, and how do you communicate?
A: Kintsugi repairs are performed part-time in my studio, typically on Monday afternoons and weekends. Because I balance repair work with my full-time career, this schedule can influence repair timelines. I usually respond to email inquiries on Mondays, and emails sent over the weekend will be answered promptly on the next business day. Thank you for your patience in awaiting my reply!