Satsuma Vase: 146 days of restoration

satsuma vase restored with kintsugi

Japan implemented the Sakoku policy in the 17th century and ceased all international trade, retreating the nation into a long period of isolation during the shogunates; a feudal system ruled by lords titled daimyo, who worked closely with samurais.

In the 1580s and 90s, not long before the closing of the borders, daimyo Shimazau Yoshihiro captured potters from Korea to work in kilns in the Satsuma region, present day Kagoshima prefecture. Korean and Chinese pottery were in popular demand among the elite and sold for hefty prices. It was a lucrative trade indeed. Influences of foreign art in the Satsuma region originated a new style of clay pottery: Satsuma ware. The art broadened to various shapes and colors, freshly renewed by the use of local materials across many provinces. Satsuma ware, traditionally made with black or red clay, branched into shiro-Satsuma, or white-satsuma,  developed using kaolin, a pure and refined while clay sourced from volcanic deposits in the region.

In the late 18th century, artists incorporated new color glazing techniques to Satsuma ware. Potters from Kyoto incorporated the Nishikite method, applying a gold and polychrome overglaze, a technique adopted broadly in subsequent years. The style reached maturity soon thereafter and development tapered for over a century.

In the 1850s, Japan resumed international trade after two centuries of closed feudalism. Daimyo Shimazu Nariakira founded a kiln to pursuit exportation of Satsuma ware, studying and applying western enamel techniques. His kiln unveiled the Japanese art to the West for the first time in London, a success followed by displays in Paris in the 1860s, Vienna and Philadelphia in the 1870s. The overwhelmingly positive response from audiences launched the style abroad to great demand along with Japonism.

satsuma vase before kintsugi restoration

The Satsuma vessel featured in this text is a shiro-satsuma crafted in Kagoshima at an unknown date. Based on the technique, style and features observed, it was likely crafted in the late 1800s, and it’s decorated with several traditional patterns.

The karakusa pattern (#2), a symbol of longevity and ancestral prosperity, and the kiku pattern(#1), chrysanthemums flowers, are featured around the vase’s neck (reference to image). The kiku pattern symbolizes longevity and it became Japan’s Imperial flower, representative of the Imperial family, around 1869.

traditional japanese patters shown on satsuma vase
traditional japanese patters shown on satsuma vase

A mosaic of patterns decorate the vessel’s body, the most noticeable being shippou, a symbol of perpetuity. I’m not able to identify who the human figures are or what they represent apart from the group of three men, who I suspect to be samurai. The vibrant colors and the abundance golden details throughout the vase transmit a warmth and exuberance that are palpable when in the same room.

The repair process took 146 days and presented a few challenges. The vase is approximately 17 inches tall (43cm), larger than the typical vessel restored with the traditional kintsugi method. Structural reinforcements or additional coats of lacquer are necessary at times, depending on the vessel’s weight distribution, the manner in which it broke and how it will be used post-restoration.

satsuma vase kintsugi repair process

In this case, although reinforcement was not crucial, I applied additional layers of ki-urushi to the inner and outer adjoining lines to strengthen the nori-urushi, provide extra bonding and mild water-proofing. There was limited access through the vase’s mouth, so I had to be creative when reinforcing the larger breaks from the inside. The embossed outer surface of the vase posed a challenge during kuro-urushi “line-work”, which consists of precisely and delicately applying black lacquer to the adjoining lines with a brush. The surface’s curvature caused the lacquer to run slightly even when made thicker. The original hand-carved wooden base gives the vase a charming tilt, a reminder of human craftsmanship.

Here is the link to the Globe and Mail article about this project.

It was an honour and a pleasure to have had the opportunity to restore such stunning Japanese artwork. The vessel remains a part of their family with renewed strength and beauty.

Link to see more kintsugi artwork: The Art


Get in Touch

Do you have any vessels with memories and stories in your home?
Keep beautiful memories alive and create new ones by preserving the items that support us along the way. Please feel free to ask any questions about Kintsugi services and Japanese traditions. Contact us via email at info@kintsugiterrace.com.

Arigatou!