I have been working on this stone statue for quite a while. It has mugiurushi and several layers of sabi holding it together. The stone is very soft and it is difficult to work the sabi without further damaging the stone. I decided to ‘dig’ a trench in the sabi and then apply gold to that. The ‘trench’ is slowly becoming visible, I figure several more hours and it will be ready for some middle black.
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This is a work in progress, a buncheong stem cup from the Joseon period. It is very damaged all over and is fragile so I hope I can repair it. The inlay in some areas is also damaged. The sabi I applied quite a while ago and is fully cured.
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Traditional, lacquer based kintsugi, buncheong stem cup from the Joseon periodTraditional, lacquer based kintsugi, buncheong stem cup from the Joseon periodTraditional, lacquer based kintsugi, buncheong stem cup from the Joseon period
This video shows application of gold over red lacquer. I waited 30 minutes after application before applying gold. From this will wait about 5-6 days and then take off the over-spray of the gold.
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This video shows application of red for gold. I also thin it a little bit after application. I will wait 30 minutes after application before applying gold.
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This video shows adding a thickened lacquer to a couple of small holes. The lacquer is thickened with jinoko without water. It is like what is sometimes used for making raised areas in makie. The piece is very close to being finished but there were still a couple of very small holes that needed filling.
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This video shows rough sanding of sabi and removing some of the masking tape. I am using a #400 whetstone instead of wet-dry sandpaper. The whole removal will take 30-60 minutes so this is only a small part of that.
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This video shows applying sabi to a very narrow, masked off scar. The pieces of paper on the bottom and top of the vase are so that the masked area won’t contact any surfaces when I place the piece in the muro.
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This is a Bizen fired vase from about the year 1600. It has a crack which doesn’t go all the way through, the vase doesn’t leak. Instead of completing the break which is usually my first choice I am going to fill it in with sabi. First I have slightly widened the crack with a diamond file and then masked the crack with tape. Next I will apply lacquer that has been thinned with oil of turpentine so the lacquer will flow into the deepest parts of the crack.
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Momoyama period vase kintsugi repairMomoyama period vase kintsugi repairMomoyama period vase kintsugi repairMomoyama period vase kintsugi repair
This video shows slowly shaping the Tibetan tsa-tsa figure after it was left to dry for about 4 days in a muro. There is still a lot of work both to fill out the fill to the needed thickness and outer shape. I am using #800 sandpaper and then coming back in with an Olfa blade. I have some other, sturdier blades which I will use later on.
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