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Repair of antique Rengetsu ceramics


As the first project in this blog, I would like to present a special series of works: In 2022, I restored seven ceramic pieces for the Swiss collector John Walker. Most of these works come from the Rengetsu-Yaki tradition, named after the Japanese artist and nun Ōtagaki Rengetsu (1791–1875).


There is something special about working with antique ceramics. The history inherent in each piece invites you to let your imagination run wild. Every time I take such a piece out of the furo and apply another layer of varnish, I feel more connected than ever to the past and the society that created it.

Image of the Buddhist nun Otagaki Rengetsu in old age
Image of the Buddhist nun Otagaki Rengetsu in old age

Ōtagaki Rengetsu (1791–1875) was a Japanese Buddhist nun, ceramic artist, and calligrapher of the late Edo and early Meiji periods. Born to a courtesan and a feudal lord, she was adopted shortly after birth and grew up in Kyoto. After personal tragedies, including the loss of two husbands and children, she decided to enter a monastery. Rengetsu became known for her poems and her unique ceramics, often decorated with her own calligraphy. Her works reflect a deep spiritual connection and an appreciation for the transience of life.


"The Fox Spirit Hakuzosu", painting by Otagaki Rengetsu, source: Metropoitan Museum of Arts
“Hakuzosu The Fox Spirit ”, painting by Ōtagaki Rengetsu, source: Metropolitan Museum of Arts

Restoring Rengetsu ceramics is a special honor. Her work has a playful lightness that is expressed in the style of her calligraphy and the natural forms of the ceramics. The contemplation of nature inherent in Rengetsu's works continues to inspire today. The Kintsugi repair of these antique pieces not only restores their functionality, but is also a bow to their history and their creator.


More about Ōtagaki Rengetsu:

 

Kyūsu

This kyūsu required repairs of both cracks and chipped areas. The areas were filled with sabi urushi, a mixture of tonoko (Japanese clay) and urushi, and then covered with layers of lacquer until they had the desired shape.



Shiboridashi & Chawan

This Shiboridashi and Chawan simply have cracks in the ceramic. An application of Urushi diluted with camphor oil allows the lacquer to penetrate the crack and seal it. The crack is then filled with Bengara Urushi, as with the broken areas, and finished with powdered gold.





Hanaire

In this Hanaire, the lower part has broken off and was remodeled using Ji Urushi, a filling compound made from Jinoko (Japanese fireclay) and Urushi.



Peel

On both bowls, missing areas were remodeled using using Ji Urushi, a filling compound made from Jinoko (Japanese fireclay) and Urushi.





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The beginning is often a fracture. A moment of carelessness, a faint crack, then a clear awareness that something is now different than before. Kintsugi begins with the break—not as a flaw, but as the starting point of a new story.



Every repair requires patience. The lacquer must dry undisturbed, the gold cannot be applied too soon. There is no shortcut, no hurried mending. This deceleration is what fascinates me about Kintsugi: the process demands dedication and respect for the material.


 

With this first post, this blog also begins—a place where thoughts on Kintsugi, ceramics, art, and transience will find space. Perhaps you will encounter fragments here, perhaps completed works, perhaps just small glimpses into the studio.


Every golden line is a visible sign of appreciation. And so, this blog shall also grow—line by line, like a repair that takes its time.


Eva Lenz-Collier, January 2025

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