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The Japanese Art of Repairing Pottery and Glass
日本修缮陶器与玻璃艺术

A Beginner’s Guide to Kintsugi shows you how to repair ceramics, pottery and glass using lacquer and metal in a way that makes the broken places a part of the story. It introduces the simplest, safest and least expensive way to do kintsugi at home, and guides you through everything from assembling and mixing the materials to creating a replacement for a hopelessly shattered shard.
初学者的金缮指南将 教您如何使用漆和金属修复陶瓷、陶器和玻璃,并将破损的地方融入作品的故事中。 本书将带您了解在家进行金缮的最简单、安全和经济的方式,指导您完成从组装和混合材料到为无法修复的碎片创建替代品的整个过程。
In this book you’ll learn to:
在这本书中,您将学会:
  • Reinforce cracks and rebuild chipped areas
    彻底地修补裂缝并重建破损区域
  • Fix a broken-off piece so that it’s usable again
    将断裂部分修复使其恢复可用
  • Work with a variety of repair materials
    熟练使用各种维修材料
  • Work on pottery, porcelain and glass
    陶瓷、瓷器和玻璃制品加工
  • Try a variety of traditional techniques
    尝试各种传统手法
Most of all, the meditative process of kintsugi helps you look at broken objects in a new light and embrace their imperfections.
最重要的是,金缮的冥想过程可以帮助你用新的眼光看待破碎的物品,并接受它们的缺陷。


A BEGINNER'S GUIDE TO KINTSUGI
金缮初学者指南

The Japanese Art of Repairing Pottery and Glass
日本修缮陶器与玻璃艺术

MICHIHIRO HORI  进一步的翻译

TUTTLE Publishing  塔特尔出版
Tokyo |Rutland, Vermont \mid Singapore
东京 | 伦德,佛蒙特州 \mid 新加坡

Why I Wrote This Book 5
我撰写这本书的原因

Part 1  第一部分内容

Photo Gallery 6  相册 6
How to Use This Book 12
本书使用指南 12

GETTING STARTED  开始

You Can Fix These Types of Things 1 4 1 4 14\mathbf{1 4}
你可以解决这些类型的问题

What is Kintsugi? 16
金缮是一种日本传统修复陶器的技艺,它用金漆粘合破损的器皿,使之更坚固、更美观

General Process Overview 18
通用流程概述 18

Pretreatment 20  预处理 20 阶段工艺准备
Adhesive: Mugi-Urushi 22
麦漆 22

Filling Holes: Sabi-Urushi 24
填充孔隙: Sabi-Urushi 24

Expert Tips: About Urushi Rash 26
专家建议:关于漆疹 26
Part 2  '第二部分'

KINTSUGI BASICS  金缮基础知识

Shards 28  碎片 28
Chips 34  薯条 34 份
Expert Tips: How to Clean Supplies 39
清洁用品 39 的专家建议

Cracks • Fissures 40
裂缝 - 裂缝 40 处存在 40 处裂缝。

Nicks 44  尼克斯的 44 号球员
Part 3  第三部分
KINTSUGI FINISHING TOUCHES
金缮的最后修饰步骤

Apply the Kinpun/Gold Powder 50
使用金粉 50 克

Expert Tip: Kinpun/Gold Powder Varieties
专业人士提示:金粉/金粉种类

Applying Precious Metal Powders 56
应用贵金属粉末

Expert Tips: About Precious Metal Powders
专家建议:关于贵金属粉末
Part 4  第四部分

OTHER KINTSUGI APPLICATIONS
除陶瓷修复外,金缮还有许多其他应用。

Kasugaitsugi 64  春日井 64 号
55 Yobitsugi 68  五十五,六十八号
Glass-tsugi 72  玻璃-tsugi 72
60 Reinforcement 76  60 Verstärkung 76
Yakitsugi 82  八岐大蛇的第八十二话
Expert Tips: How to Care for Projects Mended with Kintsugi 84
金缮修复项目如何护理的专家提示:84
Q & A 86  问答 86
Suppliers 90  供货商 90
Conclusion 94  结论 94

Why I Wrote This Book
我为何撰写这本著作

Have you ever experienced the heartbreak of a beloved vessel or ceramic piece cracking or breaking apart? Kintsugi is the art of beautifully mending broken pottery and prolonging its life.
您是否曾经心痛地体验过心爱的器皿或陶瓷破裂或破碎?金缮是一种美丽地修复破碎陶器并延长其使用寿命的艺术。
Kintsugi is a traditional Japanese method of repairing ceramic using lacquers made from natural resources. The word “kintsugi” means “golden joinery.” Historically, whenever the need arose, a skilled artisan would mend tea ceremony pottery with a special lacquer made from gold or silver powder. In modern times, more and more people are taking an interest in challenging themselves to try kintsugi techniques. My own workshops in Japan, which I call “The Kintsugi Club,” were created for those curious about this unique art. It’s exciting to see this curiosity taking hold in the West.
金缮是一种传统的日本陶瓷修复方法,使用由天然材料制成的漆来修复。金缮这个词的意思是“金色的接合”。历史上,每当需要时,技艺精湛的工匠都会用金粉或银粉制成的特殊漆来修复茶道陶器。在现代,越来越多的人开始对挑战自己尝试金缮技术感兴趣。我在日本开设的研讨会,我称之为“金缮俱乐部”,是为那些对这种独特艺术感到好奇的人创办的。看到这种好奇心在西方蔓延,真是令人兴奋。
In this book-just as I do in my workshops-I introduce both beginners and intermediate kintsugi aficionados to a DIY approach to making lacquer and applying it using various kintsugi methods.
在这本书里,就像我在我的工作室里做的那样,我将金缮爱好者,无论是初学者还是中级程度,都引入了制作漆器并使用各种金缮方法进行涂漆的 DIY 方法。

Four essential pillars of my approach:
我方法的四个核心支柱是:

  1. Traditional: we will incorporate historically accurate techniques using real lacquer called “urushi”
    我们将利用真正的漆器,即“漆”,融合历史的精确技术
  2. Safe: we will ensure the least amount of harm, which means not using paint thinner or benzene
    我们将确保最大限度地减少伤害,这意味着我们不会使用油漆稀释剂或苯
  3. Enjoyable: it will be fun, easy-to-understand, streamlined
    令人愉快: 这将是一项容易理解、有趣的、且便捷的体验
  4. Economical: since mending is the goal, we will use kintsugi in the most cost-effective way
    经济实惠:由于修复的目的是弥合裂缝,我们将会采用最具成本效益的方式来进行金缮修复。
With the above in mind, my goal is that anyone will be able to learn kintsugi at home with accessible materials and tools. Even if it takes a little extra time and effort, mending a much loved piece with your own two hands is a joyful endeavor. I invite you to take a whole-hearted dive into the art of kintsugi.
在考虑以上因素后,我希望每个人都能在家中使用方便获取的材料和工具学习金缮。即使这需要花费一些额外的时间和精力,用自己的双手修复一件心爱的物品也是一项令人喜悦的努力。我诚邀您全身心投入到金缮的艺术中。

-Michihiro Hori  翻译后更流畅、更通顺的中文简体翻译
Mid-Edo period, exported Koimari Sometsuke bowl. Mended with copper.
江户时代中期,这件古伊万里染付碗被出口,并用铜进行了修复。

19th century French Baccarat glass plate with floral motifs. Gold leaf is used to patch glass.
19 世纪法国巴卡拉玻璃盘,饰有花卉图案,用金箔进行修复。

19th century French Cul Noir platter. Mending in progress with black lacquer and staples.
19 世纪法国黑色彩绘盘,正在用黑漆和订书钉进行修复。



(Left) 16th century teapot. The broken spout has been repaired using kintsugi. (Right) Qing Dynasty spoon. Reinforced with washi paper and finished with gold.
(左) 16 世纪茶壶,破损的壶嘴用金缮修复。(右) 清代勺子,以和纸加固,饰以金箔。


Koimari pieces joined together. The gray section is made from wood or kokuso-urushi and finished with copper.
将木头或黑漆做成的灰色部分用铜制成。

How to Use This Book
如何使用本书籍

Navigators  领航员
Warefuto  仓库
Male squirrel. Has a design on its back and tail.
具有独特图案的雄性松鼠。

Kakeko  比赛

Female squirrel. She has long lashes and white fur.
雌性松鼠,长长的睫毛,白色的皮毛。

Tools for various techniques
用于各种技术的工具

We consciously sourced accessible tools and materials
我们深思熟虑地采购了辅助工具和材料
Finished project  已完成的项目
Representative pieces to demonstrate different techniques, brought back to life through kintsugi.
代表性作品通过金缮技艺重现生机,展示不同的技法。

Tips  技巧和窍门
Warefuto and Kakeko will teach you key points.
货柜和货架将教您关键要点。

Instructions  从 "source" 字段中提取内容。

Clear explanations and easy-to-understand photos
简明易懂的解释和容易理解的照片

Urushi-buro  浴池

This symbol indicates placing the item in the Urushi-buro (the lacquer bath) to cure the lacquer
这个符号表示将器皿放入漆浴中进行漆器的固化处理
Tips and Tricks Helpful tips and advice for tricky sections
技巧和窍门:针对棘手部分的实用技巧和建议

Part 1 GETTING STARTED
第一步:开始使用

Kintsugi patching method will differ depending on the types of breakage or cracks. The following section will help determine which method will work best for different types of repair. Additionally, we will introduce the necessary pretreatments, basic techniques and lacquer information that apply to all methods.
金缮修补方法会因破损或裂纹的类型而异。以下部分将帮助您确定哪种方法最适合不同的修复类型。此外,我们将介绍所有方法中都需要的必要预处理、基本技巧和漆器信息。

You Can Fix These Types of Things
“您可以解决这类问题”

Shards  碎片

It’s happened to us all: a slip of the hand and the plate (or cup or vase, etc.) becomes shards. Things that often break include ceramic spoons, porcelain cup handles, and tea pot spouts. Cracks and chips are common types of breakage.
我们都经历过这种情况:手一滑,盘子(或杯子、花瓶等)就摔碎了。经常会断裂的物品包括陶瓷勺子、瓷杯把手和茶壶嘴。裂缝和缺口是最常见的损坏类型。


Cracks and Fissures  裂缝和裂隙

If water leaks through a thin line of breakage, we refer to it as a “crack.” However, if the crack is barely perceptible and doesn’t cause any fluid to leak, we call it a “fissure.”
如果水从一条细小的裂缝中渗出,我们会称之为“裂缝”。然而,如果裂缝几乎不可见,而且没有任何液体渗漏,我们就会称之为“细微裂痕”。

Nicks  来自尼克斯队的

We call the small or shallow broken pieces and chips near the surface of porcelain, earthenware or ceramic pieces “nicks” to differentiate from the “chips.” Nicks are another very common type of breakage.
我们将瓷器、陶器或陶瓷表面附近的碎小或浅层破损称为“缺口”,以区别于“碎片”。缺口是另一种非常常见的破损类型。


What is Kintsugi?  金継是日本的一种传统工艺,将破碎的陶瓷器皿用金或银粘合起来,使之更加坚固美丽。金継的理念是,破损也是一种美,它可以用来记录物品的历史和故事。金継不仅仅是一种修复技术,更是一种哲学,它告诉我们,即使是在破损之后,也可以找到新的美丽和价值

Whole-heartedly enjoying kintsugi
热爱金缮艺术

Simply stated, “kintsugi” is a way to repair pottery. These days a variety of kintsugi methods exist.
简而言之,“金缮”是修复陶瓷的一种方法。如今,金缮方法种类繁多。

(1) First adhere with synthetic resin such as epoxy, then quickly finish with gold paint
首先,用环氧树脂等合成树脂进行粘接,然后迅速用金漆完成涂饰。

(2) First adhere with synthetic resin, then apply lacquer and finishing gold powder
首先用合成树脂粘合,然后上漆和抛光金粉

(3) The traditional method of using lacquer to mend all the parts.
用漆器修复所有零件的传统方法
Thoughts and emotions come into play during the mending process, and determining the appropriate method will depend on the person and object in need of repair.
思想和情感在修复过程中发挥着作用,选择合适的方法取决于需要修复的人和物体。
If you sense that one method feels off somehow, try another method. Mending pottery requires time and effort and if I could emphasize just one point, it would be to choose a method that has the least negative impact on your health. Naturally derived lacquers called urushi tend to be harmless and also allow you to re-do the repairs. Although it might take a little longer to use natural lacquers, by infusing love and care into the project, the result will be even better.
如果你觉得某种方法不太对劲,不妨试试其他方法。修补陶瓷需要时间和精力,如果我只能强调一点,那就是选择最不影响你健康的方法。天然漆器,也就是我们常说的“漆”,一般无害,而且允许你返工修补。虽然用天然漆可能要多花点时间,但倾注爱和关怀,最终的结果会更完美。
I believe that kintsugi is fueled by a desire to cherish pottery pieces. Yatsusu is a Japanese term that predominantly means to shabbily disguise, but it can also mean to dress-up or beautify. I hope you will approach kintsugi as a means to beautify your broken pottery.
我相信,修复陶器背后的驱动力是人们对陶器的珍爱。 “やっつけ”是一个日语词语,主要指粗略地掩盖,但也可能意味着装饰或美化。我希望您能将金继视为一种美化破损陶器的方式。

About urushi lacquer  关于うるし漆

The lacquer used for kintsugi was historically derived from the sap of the Urushi or Chinese Lacquer tree, which yields a high polymer, glossy varnish. In Japan, lacquer trees have been around for over 12,600 years and urushi lacquer has been cultivated and collected since the Jōmon period. We know that the lacquer was used for bows, arrowheads and earthenware. Kintsugi, too, has existed from ancient times. There is a long history of using lacquer to glue broken earthenware fragments together, and even signs of kneading sand with lacquer to fill bigger gaps, and this tradition continues into the modern day.
用于金缮的漆器传统上取自漆树或中国漆树的树液,它们可以产出高聚合度的光亮清漆。在日本,漆树已有超过 12,600 年的历史,漆器自绳文时代以来就开始人工种植和采集。我们知道漆器被用于弓箭、箭头和陶器。金缮也同样存在于古代。使用漆器粘合破碎陶器碎片的做法由来已久,甚至有迹象表明将沙子与漆器混合以填补更大的缝隙,这种传统一直延续至今。
Urushi lacquer is essentially a powerful natural paint and adhesive. Once applied to fabric and dried, the paint sinks into the fiber and will become permanent. Since it adheres so well to the moisture on skin or protein, the lacquer is extremely difficult to remove from skin once dried. At first you may be surprised by the strength and mysterious quality of this natural resource, but I’m certain you will come to appreciate its unique attributes.
漆器实质上是一种性能强大的天然油漆和粘合剂。一旦涂抹于织物并干燥,漆器将渗入纤维并持久固定。由于漆器非常容易黏附在皮肤或蛋白质上的水分,因此一旦干燥就很难从皮肤上去除。您可能会惊讶于这种自然资源的强大和神秘之处,但我相信您最终会欣赏它独特的属性。
Note: The materials and tools shown in this book are Japanese brands (images in the tools and materials section may show Japanese packaging rather than contents). Check online and in fine art supply stores for brands available to you.
注意:本书中展示的材料和工具为日本品牌(工具和材料部分的图片可能显示日本包装而非内容)。建议您根据自身情况,在网上或美术用品商店选择适合您的品牌。
Safety precautions are always advisable. In addition to gloves, masks and safety glasses are good to have on hand.
安全预防措施始终是必要的。除了手套,口罩和安全眼镜也是必不可少的。

About Urushi-buro  关于漆器浴

The Urushi-buro or “lacquer bath” is a small wooden cupboard-like structure that has been used since olden times to allow lacquer to sit in humidity as it dries and cures. Shaped like a deep shoe cabinet, there is an adjustable interior frame and shelf. Although you may not be able to easily acquire a traditional urushi-buro, any wooden box or even a cardboard box will do the trick. We recommend a cube-shaped cardboard box that can be ventilated. Avoid using plastic as the trapped humidity may result in molding.
传统漆器箱(日文名:漆風呂)是一种古老的木制橱柜状结构,自古以来就用于在漆器干燥和固化过程中保持湿度。 漆器箱形状类似于深鞋柜,内部设有可调节的框架和搁板。 虽然您可能无法轻松获得传统的漆器箱,但任何木制盒子甚至纸箱都能满足需求。 我们建议使用可通风的立方体纸板箱。 避免使用塑料,因为封闭的湿气会导致发霉。

Using humidity to cure the lacquer
使用湿度固化漆

The drying or “curing” method for lacquer is not the same as drying laundry. The curing involves an enzymatic process: the Laccase enzyme in the lacquer absorbs the moisture in the air and oxidizes to harden. In order for the lacquer to cure thoroughly, it’s important to pay attention to the temperature and humidity levels. To promote oxidization, you will need to add moisture to the box as shown below. Place a thermometer and hygrometer inside the box to monitor and maintain
清漆的干燥或“固化”方法与晾干衣物不同。固化涉及酶促过程:清漆中的漆酶吸收空气中的水分并氧化硬化。为了使清漆彻底固化,重要的是要注意温度和湿度水平。为了促进氧化,您需要在盒子中添加水分,如下所示。将温度计和湿度计放在盒子中以进行监控和维护。


optimal curing conditions.
最佳固化条件。

Cardboard box is okay with optimal humidity.
硬纸板箱在最佳湿度条件下是合适的。

General Process Overview

Shards  碎片

Chips  薯条

Cracks • Fissures  裂纹 • 裂缝

Nicks  来自尼克斯队的

Pretreatment  精炼译文: 准备阶段
Filling small holes and nicks (sabi-urushi)
填补小孔和缺口(sabi-urushi)


Supplies  物资

a Raw lacquer/urushi (gathered from the Chinese Lacquer tree and filtered. Primarily used for foundation work, hardening, and polishing lacquer. Due to its graininess, it’s not suited for coating.)
生漆/漆树汁液(从中国漆树中采集并过滤。主要用于漆器打底、固化和抛光。由于其颗粒感,不适合涂装。)

b Cotton swab  棉签
c Glass sheet* (wooden or plastic board may be used)
玻璃板(可以使用木板或塑料板)

d Rubber gloves* (disposable type; always wear gloves when applying lacquer)
一次性橡胶手套*(涂抹油漆时始终佩戴手套)

e Rotary Tool  伊顿电动工具
f Masking tape  遮蔽胶带(简体中文)
g Rag* (for wiping lacquer; anything—even tissue—that can wipe away lacquer is okay)
用干净的棉布蘸上稀释后的漆去除剂以擦拭漆

*The glass sheet, rubber gloves and rags are essential when using lacquer. In subsequent sections, we will not necessarily include these three items in the supplies section but they should always be used.
使用漆料时,玻璃板、橡胶手套和抹布是必不可少的。在后续章节中,我们可能不会在材料部分列出这三项,但您始终应该使用它们。
With proper surfacing, the lacquer flows in smoothly and adheres well. Some people omit the surfacing step.
如果表面处理得当,漆就会非常流畅地流动,并很好地附着。有些人会省略表面处理步骤。


Before you put on your rubber gloves!
戴上橡胶手套之前!
Before you slip on those rubber gloves, you want to prepare the masking tape and mentori. Mentori is where a rotary tool or rough file is used to scrape and smooth fragment edges and corners. Cut multiple small pieces of masking tape and stick them on the edge of the glass sheet to keep them at the ready.
在开始工作之前,请戴上橡胶手套。将遮蔽胶带剪成小块,并将其粘贴在玻璃板的边缘。可以使用旋转工具或粗锉刀来刮削和磨平碎片的边缘和拐角。
Process  进程

TIP The lacquer stained the porcelain!?
哎呀,清漆把瓷器都染上了!真是太可惜了!

For some types of porcelain, if you apply raw lacquer without underpainting or priming, the lacquer may seep under the glaze and create an unsightly stain. If this is a concern, consider priming with glue, white lacquer, or egg white before applying the raw lacquer.
对于某些类型的瓷器,如果不事先进行底漆处理,直接刷生漆可能会渗透到釉下,造成难看的污渍。为了避免这种情况,建议在刷生漆之前,用胶水、白漆或蛋白进行底漆处理。

Adhesive: Mugi-urushi  粘接剂:日本漆

This is a kind of lacquer that works like glue to attach two fragments together
这种漆就像胶水一样,可以将两个碎片粘合在一起。

Supplies  物资

a Raw lacquer  生漆
b Glass sheet  b 玻璃板
c 2 plastic heras or spatulas (1 is a spare. It’s helpful to have an extra just in case)
使用 2 个塑料刮刀或抹刀(1 个备用。备用工具会非常有用。)

d Water  将饮用水
e Masking Tape  e 型遮蔽胶带
f Spoon for high gluten flour
高筋面粉需要的勺子

g High gluten flour (standard wheat flour for baking is fine)
高筋面粉(标准烘焙用小麦粉即可)
Process  进程
Mix flour and water next to the lacquer used for pretreatment (see page 20).
按“用于预处理的漆料”在第 20 页的说明,在旁边混合面粉和水。

Make a mixture that resembles pancake batter in texture and consistency
做出质地和稠度类似煎饼的面糊

Knead and mix with the plastic hera or spatula. As flour mixture becomes sticky, start adding little bits of raw lacquer. The total amount of lacquer you will add will be about 1.5 to 2 times the amount of flour used in the original mixture.
用塑料刮刀或抹刀揉捏和混合。当面粉混合物变得粘稠时,开始少量添加生漆。您将添加的生漆总量将大约是原始混合物中 面粉用量的 1.5 到 2 倍。

The ideal consistency and viscosity is reached when the mixture stretches up to about 4" ( 10 cm ) ( 10 cm ) (10cm)(10 \mathrm{~cm}) as shown in the photo. If you need more viscosity, add more lacquer. Once you have the desired consistency, you now have what is called mugi-urushi. (see tip)
当混合物被拉伸到大约 4 英寸(如图所示)时,将达到理想的稠度和粘度。如果需要更高的粘度,可以添加更多漆。一旦达到所需的稠度,你现在就得到了麦漆。(见提示)
4
Lacquer continues to cure as it is exposed to air, so it’s a good idea to cover the mixture with the hera/ spatula while you are working on other tasks. If you’ve made too much lacquer, seal it in plastic wrap and it will last for 2-3 days.
生漆在接触空气时会继续固化,因此在处理其他任务时,最好用刮刀/抹刀盖住混合物。 如果你做了太多生漆,用保鲜膜密封起来可以保存 2-3 天。

TIP Adjust the viscosity with lacquer
用漆来调节粘度

It seems natural that water should thin the mugiurushi, but this is not the case. Always use raw lacquer to adjust the viscosity.
虽然水看起来可以用来稀释麦漆,但这其实是不对的。您必须始终使用生漆来调整粘度。

WHY? WHAT?  为什么? 什么?

Why use flour?  为什么使用面粉呢?

When you add water to the flour and knead the two together, the protein fibers combine to create gluten. In this book, we used high gluten flour for extra viscosity and suppleness as well as easier handling. If the glue (mugi-urushi) seems too thick, substitute with regular or pastry flour.
将水和面粉混合揉捏,蛋白质会结合形成面筋。在本食谱中,我们使用高筋面粉以获得更高的粘性和柔软度,以及更易于操作。如果胶水(木漆)看起来太稠,可以用普通面粉或糕点粉代替。

Supplies  物资

a Rawlacquer  原漆
b Glass sheet  b 玻璃板
c 2 plastic heras or spatulas (1 is a spare. It’s helpful to have an extra just in case)
使用 2 个塑料刮刀或抹刀(1 个备用。备用工具会非常有用。)

d Water  将饮用水
e Spoon for Tonoko stone powder
用于汤固石粉的电动勺

f Tonoko stone powder
研磨浮石粉末

Process  进程

Place about 1 spoonful of tonoko powder onto the glass sheet. Hollow out the center and slowly add small amounts of water in the middle.
在玻璃板上放置大约 1 勺碳粉。将中心部分挖空,然后在中间缓慢添加少量的水。
Refer to page 22 to create a lacquer mixture.
参照第 22 页创建漆混合物。

Mix the water and tonoko stone powder until they are thoroughly blended together. The photo (far left) shows the ideal consistency, akin to mustard paste. If the kneaded tonoko mixture has a glossy finish, this indicates that there is too much water. Conversely, if the texture is dry and lumpy, there is not enough water.
将水和东子石粉混合,搅拌至完全融合。最左边的照片展示了理想的稠度,类似于芥末酱。如果揉好的东子混合物表面光滑,说明水放多了。相反,如果质地干燥且结块,说明水放得太少了。
3
Add a dollop of raw lacquer that’s about 60 % 60 % 60%60 \% of the kneaded mixture. Once the raw lacquer and tonoko stone powder mixture are thoroughly blended, it is ready to be used
在捏好的混合物中加入约 60 % 60 % 60%60 \% 份的生漆。生漆与砥粉充分混合后即可使用
Just like mugi-urushi, sabiurushi is affected by air and in fact cures even faster. Knead the sabi-urushi with the hera or as sabi-urushi.
就像麦漆一样,乌漆也会受到空气的影响,实际上干得更快。用刮刀或作为乌漆揉即可。

(4) spatula at least once every three minutes to keep it pliable.
每隔三分钟至少用抹刀翻拌一次,使其保持柔软。

TIP Always squeeze out raw lacquer next to the tonoko stone powder mixture.
将生漆挤压到砥粉混合物旁

In step 3, make sure to squeeze out the raw lacquer next to the kneaded mixture and not on top. If you pour the raw lacquer on top as shown in the left photo, it is difficult to gauge the 10 to 6 ratio.
在步骤 3 中,请务必将生漆挤压到揉捏好的混合物旁边,而不是上面。如左图所示,如果您将生漆倒在上面,将难以衡量 10 比 6 的比例。

Expert Tips  专家意见

About Urushi Rash  关于漆树皮疹

Urushi rash occurs when the lacquer adheres to the skin and causes an allergic reaction, similar to the reaction caused by poison ivy, poison oak and poison sumac. The severity of the reaction depends on an individual’s sensitivity as well as on the season. Reactions seem more common in the summertime due to increased metabolism and active sweat glands. We recommend wearing clothing that covers areas that could come in contact with lacquer.
漆接触性皮炎是漆树汁液接触皮肤引起的一种过敏反应。症状可能包括发红、肿胀、瘙痒和起水泡。反应的严重程度因人而异,有些人只出现轻微的皮疹,而另一些人则会出现严重的水泡和肿胀。夏季反应更为常见,因为代谢加快,汗腺活动更频繁。为了防止漆接触性皮炎,建议在处理漆树时穿戴防护服。

If lacquer adheres to the skin
如果漆粘在皮肤上

Should your skin come in contact with lacquer, immediately use vegetable oil to wipe it off. Lacquer is not water-soluble. Once home, take a bath or shower as soon as possible, and use something like a pumice stone to scrub off any remaining lacquer.
如果您的皮肤接触到漆,请立即用植物油擦拭。因为漆不溶于水。回家后,请尽快洗个澡或淋浴,并用浮石等工具擦去残留的漆。

Urushi rash symptoms  漆树皮疹的症状

There is usually an incubation period of about one week from point of contact. You may initially experience itchiness on soft body parts such as your eyelids, neck, feet, hands or stomach, followed by a rash with pustules and discharge. The symptoms will peak in a few days, and the rash typically subsides in about ten days without leaving scars. Lacquer is not toxic and, like seasonal allergies, when there is an abundance of the triggering material, the symptoms will emerge.
潜伏期通常约为一周。你可能会先在眼睑、颈部、脚、手或腹部等柔软的身体部位感到瘙痒,然后会出现带有脓疱和分泌物的皮疹。症状会在几天内达到顶峰,皮疹通常会在大约十天内消退,不会留下疤痕。虫漆无毒,类似于季节性过敏,当接触到大量触发物时,症状就会出现。

What should I do if I get a rash?
如果我身上起了皮疹,我该怎么办?

Please see a dermatologist right away. The application of prescriptive corticosteroid seems to be the most effective way to reduce inflammation. If the symptoms are severe, there is also the option of oral or injected corticosteroids.
出现上述情况,请您立即就诊皮肤科医生。使用处方皮质类固醇似乎是减轻炎症最有效的方式。如果症状严重,还可以选择口服或注射皮质类固醇。

※ Although there is no medical evidence that immunity can develop for urushi rash, roughly 90 % 90 % 90%90 \% of people affected by the rash do not have recurrences.
尽管没有医學證據證明對漆樹皮炎有免疫力,但大約有 90 % 90 % 90%90 \% 的患者不会再次出现皮疹。

※ Note that a doctor without knowledge of lacquer may prescribe standard steroids which may not be effective.
值得注意的是,不懂漆树知识的医生可能会开出无效的标准类固醇药物。

※ That said, please be aware that there is no medication specifically for urushi rash.
虽然没有针对漆疹的特效药物,但请注意这一点。

Home Remedies  家用偏方

  • Baking soda and water paste (about 2-1 ratio)
    取少量小苏打和清水混合成糊状(比例约为 2:1)。
  • “Muhi S Cream” has immediate and effective anti-inflammatory impact. This is a is a Japanese anti-itch product available through several online vendors in the US.
    缪希 S 霜具有快速有效的抗炎作用。这款日本止痒产品可通过美国多家线上商店购买。
  • A warm colloidal oatmeal bath
    采用温热的胶状燕麦浴
  • Rubbing alcohol or witch hazel
    使用外用酒精或金缕梅
  • Calendula or chamomile oil
    金盏花或洋甘菊油
  • In warmer weather, don’t give into the temptation to work in short sleeves. To prevent urushi rash, it is best to avoid exposing your skin.
    天气炎热时,不要为了工作而穿短袖。为了预防漆过敏,最好避免裸露皮肤。
  • Applying ointments like Nivea or Vaseline beforehand may have some preventative effects.
    事先涂抹凡士林等软膏可以起到一些预防作用。

Part 2
KINTSUGI BASICS
金缮修复基本知识第二部分

The basic process of kintsugi involves
金缮的基本流程包括
  1. mending the broken parts and
    修复破碎的部分和
  2. applying the gold-infused powder on the mended sections.
    将金粉涂抹在修补好的地方。
In part 2, we will feature beginner-friendly step-by-step kintsugi techniques to address shards, chips, cracks, fissures and nicks.
在第二部分,我们将介绍针对碎片、缺口、裂缝和裂隙的简单易学的金缮修复技巧。

Supplies  物资

a Small paint brush or pen (a fountain pen or size 0 brush)
一支较小尺寸的画笔或钢笔(钢笔或 0 号画笔)

b Precision knife, such as X -Acto ® ® ^(®){ }^{\circledR} (see page 31)
精密刀具,如 X-Acto ® ® ^(®){ }^{\circledR} (参见第 31 页)

c Bamboo hera  竹子是一种禾本科植物
d Rotary tool  d 型旋转工具
e Razor blade (see page 31)
电子剃须刀(见第 31 页)

f 2 plastic heras or spatulas
2 个塑料搅拌器或刮刀

g High gluten flour
高筋面粉

h Tonoko stone powder
火成岩火山石粉

i Water  我是水
j Sandpaper (400 grit, 800 grit)
400 号和 800 号砂纸

k Masking tape  遮蔽胶带
I Raw lacquer  生漆
m Black lacquer (black coating lacquer made via the chemical reaction between iron and the lacquer ingredient urushiol. Although there are various names for the lacquer ingredient, all use a base of natural lacquer and generate different colors through heating and/or mixing pigments)
黑漆是一种黑色涂料,由生漆与漆成分漆酚发生化学反应制成。尽管漆成分名称众多,但都以天然漆为基料,通过加热和/或混合颜料来呈现不同的色彩。

n Cotton swab  棉花棒

Process  进程

1
Begin with the pretreatment and smooth the edges with a rotary tool or file (see page 20). Then apply raw lacquer on all the broken edges and
首先使用预处理工具对边缘进行磨平或使用锉刀进行打磨,然后在所有破损的边缘涂抹上生漆。(参见第 20 页)


cure overnight.  overnight cure.
Cut extra pieces of Using the bamboo hera, apply an even, thin layer of the mugi-urushi glue (see page 22) on one of the fragment edges (you could apply the glue on both corresponding fragment edges, but one side is sufficient).
用竹刀将多余的部分切掉。在其中一块碎片的边缘涂抹一层均匀、薄薄的 mugi-urushi 胶水(请参阅第 22 页)。您可以在两个相应的碎片边缘都涂抹胶水,但只需涂抹其中一面即可。
3
If there are more than 3 shards, start attaching the smaller pieces first. If you start with the bigger fragments, the smaller pieces may not fit down the line. Firmly press the glued shards together from both sides and secure with masking tape.
碎片多于 3 个时,请先连接较小的碎片。如果从较大的碎片开始,可能无法连接较小的碎片。用力按压粘合的碎片并用胶带固定。

TIP Space out the masking tape evenly
将遮蔽胶带均匀地间隔开

The lacquer dries more quickly if you leave space between the masking tape pieces
如果你在遮蔽胶带之间留出间隙,漆就能干得更快


After a week, take out the mended item and use a precision knife or razor blade to shave and scrape off excess mugiurushi. I like to use a precision knife with a standard blade or a double-edge razor blade, wrapping one side of the razor with cardboard.
一周后,取出修补好的物品,用锋利的刀片或剃须刀刮去多余的漆。我建议使用带有标准刀片的精密刀或双刃剃须刀,用纸板包裹住刀片的其中一面。

If there are small gaps or chips, fill them with sabiurushi (see page 24). This will make the mended area smooth and easy to finish.
“如果存在些许缝隙或缺口, 请用 sabiurushi 进行填补(参考第 24 页)。这将使修补区域变得更加平滑,也更易于完成后续工作。”
9
Sometimes there are tiny grooves and chips that aren’t readily visible, so it’s a good idea to spread the sabiurushi on the
有时会有一些细微的凹槽和碎屑,不易察觉,所以最好在上面涂抹錆漆。


entire surface to be mended.
需要修补的整个表面。

TIP Be careful not to overcure!
固化时间不要过长!

When curing the mended item, be mindful not to “overcure.” Allowing too much time to lapse will cause the lacquer to harden to a point that will make shaving the excess mugiurushi in step 7 difficult.
在固化修补物品时,需要注意不要过度固化。 如果时间过长,会导致生漆硬化,在步骤 7 中难以刮去多余的漆。

After a day, sand the sabi-urushi sections with 400 grit sandpaper rolled into a cylinder. Add water to the water-resistant sandpaper as you smooth down the surface. This is called a water wash.
经过一天,使用 400 号水砂纸(将其卷成圆柱形)打磨生漆区域。在打磨过程中添加水,使砂纸保持防滑状态。这被称为水洗。

The first nakanuri, or underpainting, layer. Place a small amount of black lacquer on the glass sheet, then using the brush or fountain pen, paint over the glued seams. Paint thin, delicate lines along the broken fragment seams, which will enhance the kinpun/gold powder later (tip 3).
第一道中塗り,或底漆层。在玻璃板上放少量的黑色漆,然后用毛笔或钢笔在粘合的接缝上涂漆。沿着破碎的碎片接缝涂上细而精细的线条,这将增强后期的金粉/金粉(技巧 3)。

Cure in the urushi-buro again.
再次在漆器浴缸中疗养。

TIP How can I get the

best nakanuri results?  最好的中田久里结果?

For the second nakanuri layer and beyond, the lines will start to get thicker so make sure to keep the first layer as thin as possible.
在第二层中涂层以及后面的涂层中,线条会开始变粗,所以请务必让第一层尽可能薄。

TIP How much togi is enough?
加满汽油需要多少钱?

A smooth surface is necessary to create the beautiful nakanuri lines, so the lacquered area needs to be carefully sanded down and polished each time, which is called togi. Sand the first nakanuri layer until it is about 60 % 60 % 60%60 \% matte, and sand the second layer until it is about 80 % 80 % 80%80 \% matte. The aim is to create a matte surface reminiscent of an inkstone or a piece from the Japanese game of Go. If the lines are very thin and you’re not quite sure what’s happening, don’t worry too much about it.
光滑的表面是打造优美中塗線條的必要條件,因此需要小心地打磨和拋光漆面,這稱為砥ぎ。將第一層中塗打磨至約 60 % 60 % 60%60 \% 的霧面,並將第二層打磨至約 80 % 80 % 80%80 \% 的霧面。目標是創造一個類似於硯台或日本圍棋棋盤的霧面。如果線條非常細,你不太確定發生了什麼,也不要太擔心。

Follow this sequence: Togi 2 2 =>2\Rightarrow 2 2nd nakanuri =>\Rightarrow Cure overnight in urushi-buro =>\Rightarrow Togi 3 3 =>3\Rightarrow 3 rd nakanuri =>\Rightarrow Cure overnight in urushi-buro.
按照以下步骤操作: 研磨 2 2 =>2\Rightarrow 2 两次中塗り =>\Rightarrow 在漆桶中放置过夜固化 =>\Rightarrow 研磨 3 3 =>3\Rightarrow 3 进行三次中塗り =>\Rightarrow 在漆桶中放置过夜固化。

Using 800 grit sandpaper, sand down the nakanuri about 80 % 80 % 80%80 \% which should make the surface appear matte (no shine). If you sand too much, you risk taking off the entire seam, so hold back a bit as you perform the togi. We are ready for the final step!
使用 800 目砂纸打磨中塗,使其表面呈现哑光(无光泽)。打磨范围约为 80 % 80 % 80%80 \% 。注意不要打磨过多,以免影响接缝。最后一步,我们来进行最终的完成工作!

Finally, it’s time 동 for the finishing touches! Go to page 49
最后,是时候进行最后的润色了! 请翻到第 49 页
Two layers of nakanuri are nice, but a third layer gives it extra smoothness.
两层打底已经很棒,但第三层会让它更加光滑细腻

After the second togi the surface will ideally be about 80 % 80 % 80%80 \% matte, with a finish similar to a go game piece or an ink stone.
理想情况下,二次研磨后,表面应呈现接近于 80 % 80 % 80%80 \% 的哑光效果,其光滑程度类似于围棋棋子或砚台。

WHY? WHAT?  为什么? 什么?

Why so many nakanuri layers?
为什么需要这么多 nakanuri 层?

The reason for multiple layers of nakanuri is to strengthen the kintsugi. Additionally, the process ensures beautiful seams and smooth surfaces. Although the steps are basic and repetitive, diligently following them will produce wonderful results.
nakanuri 采用多层是为了加固 kintsugi。另外,这个过程还能确保接缝美观、表面光滑。虽然步骤简单重复,但认真执行会带来美妙的成果。

Supplies  物资

a Small paint brush  一把小画笔
b Precision knife, such as X-acto (see page 31)
精密刀具,如 X-acto 手术刀(参见第 31 页)

c Bamboo hera (clay hera is okay too)
竹赫拉(泥赫拉也可以)

d 2 plastic heras or spatulas
2 把塑料抹刀或锅铲

e Ogakuzu or Wood powder
木屑或刨花

f Cotton swab  棉签
g Water  
h Sandpaper (400 grit, 800 grit)
使用 400 目和 800 目砂纸打磨

i High gluten flour
j Rawlacquer  生漆
k Black lacquer  K 碳黑色漆

Process  进程

Paint thin layers! /
请用薄薄的油漆层进行涂抹!/
Start with the pretreatment. Place a small amount of raw lacquer onto the glass sheet and apply the lacquer to the chipped area with a cotton swab. Since you will be wiping off the excess with a rag or tissue at the end, don’t worry too much about precise application. This lacquer has a transparency.
首先进行预处理。在玻璃板上滴少量生漆,用棉签将漆涂抹在缺损区域。由于最后要用抹布或纸巾擦拭多余的漆,所以不必过分担心涂抹的精确性。这种漆是透明的。

Next, we will make the kokusourushi to fill the chip. On the glass sheet, place the mugi-urushi (see page 22) and wood powder with a
接下来,我们将制作用于填充木片的漆树漆。在玻璃板上,使用麦漆(见第 22 页)和木屑,

Mix together with the plastic hera until the wood powder is completely blended in. Continue to mix and knead into a consistency of play dough or clay.
将塑料搅拌器和木屑充分混合,直至木屑完全融合。继续混合和揉捏,直至达到类似于游戏面团或粘土的稠度。

Apply the kokuso-urushi to the chipped area with the bamboo hera and adjust the shape with your fingers. Cure in the urushi-buro for about 7-10 days. For larger chips, slowly build up the patch, which may require curing the lacquer 2 or 3 times.
用竹制刮板将 kokuso-urushi 涂抹在缺损区域,并用手指调整形状。在漆箱中固化约 7-10 天。对于较大的缺口,请缓慢地修补,可能需要将漆固化 2 或 3 次。

If you cover your fingers with wood powder before pressing the kokuso-urushi, your fingers will not get dirty. Alternatively, you could use plastic wrap to press the kokuso-urushi into the chipped area.
如果在按压生漆前,用木粉覆盖手指,手指就不会弄脏。或者,您可以使用保鲜膜将生漆按压到缺损区域。

Make sure that the piece doesn’t fall off! (see tip below)
为了避免作品掉落,请按照以下提示进行操作!(请参见以下提示)

WHY? WHAT?  为什么? 什么?

What is Kokuso-urushi?  什么是木瓜漆?

It is one of the foundation materials of lacquer repair, a paté-like substance made from mixing the mugiurushi and wood powder. Originally, kokuso-urushi consisted of a shredded ramie fiber (called choma).
它是一种漆器修复的基础材料,是由麦麸漆和木粉混合制成的糊状物质。最初,刻槽漆是用切碎的苎麻纤维(称为苎麻)制成的。

TIP If it falls off...
小贴士 如果它掉了...

The kokuso-urushi foundation patch may detach and fall off if the blade you are using is dull or is scraping at a certain angle. If this happens, you can glue it back on with mugi-urushi.
库苏里漆打磨后,如果使用的刀片锋利不足或以一定角度刮擦,可能会脱落。这时,可以使用麦漆将其粘回去。

The whole thing came off…
整件事都搞砸了……

TIP Beware of drips and shrinkage!
小心滴漏和缩水。

When the lacquer “shrinks” the lacquered surface develops wrinkles. To eliminate the wrinkles, the entire nakanuri layer will need to be scraped off and re-done, which will take a long time.
当漆器“收缩”时,漆面会产生皱纹。为了消除皱纹,需要将整个中塗り层刮除重新制作,这需要很长时间。

Drips also result from heavy application, and need to be scraped, which can be tricky and can mar the porcelain needlessly.
滴落也是由过度的涂抹造成的,需要刮掉,但这很棘手,并且可能不必要地损坏瓷器。

Shrinkage is likely to happen when trying to apply a single thick layer of lacquer, so you will end up saving more time by applying multiple, thin layers.
涂刷清漆时,如果试图一次性涂抹厚厚的一层,很可能会导致漆面收缩。因此,多次涂抹薄薄的一层可以节省更多时间。

Water wash with 800 grit sandpaper. Once the surface looks about 80 % 80 % 80%80 \% matte, it’s time for the final step!
用 800 号砂纸进行水洗。当表面看起来像 80 % 80 % 80%80 \% 哑光时,就可以进行最后一步了!

Expert Tips  专家意见

How to Clean Supplies
如何清洁用品

Always clean and put away your tools and supplies after each use. Keep in mind that lacquer cannot be cleaned with water. Oil must be used. In general, there are two types of oils: (1) non-drying oil (2) drying oil. Each has its own particular uses.
使用完工具和用品后,务必将其清洁并收纳妥当。请注意,漆器不能用水清洁,必须使用油。一般来说,油分为两种类型:(1)不干性油(2)干性油。每种油都有其特定的用途。

How to clean brushes
如何清洁刷子

Use non-drying oils such as canola/vegetable and olive oils to clean brushes. First, place a dollop of oil the size of a quarter coin on the glass sheet. Swish the dirty brush in the oil, then place the brush tip on a different part of the glass sheet and use a stick to squeeze out the oil from the brush hairs. Repeat this 6 or 7 times until the squeezed oil becomes clear. Even a tiny amount of lacquer remaining on the brush hairs will harden and damage the brush, rendering it unusable. Once the brush has been cleaned, generously load the brush with clean oil and store.
使用不干性油,例如菜籽油/植物油和橄榄油来清洁刷子。首先,在玻璃板上放一小块硬币大小的油。在油中涮脏刷子,然后将刷头放在玻璃板的另一部分,用棍子挤出刷毛中的油。重复此操作 6 或 7 次,直到挤出的油变得清澈。即使刷毛上残留少量油漆也会变硬并损坏刷子,使其无法使用。刷子清洁后,在刷子上涂抹大量干净的油并储存起来。

How to clean heras and glass sheets
如何清洁炉灶和玻璃?

Use turpentine oil* to clean heras, spatulas and glass sheets. Pour a small amount of turpentine onto the glass sheet and mix with the lacquer. Wipe clean with a rag or tissue. Combining turpentine with vegetable oil is even more effective.
使用松节油*清洁刮板、抹刀和玻璃板。在玻璃板上倒入少量松节油,与漆混合。用抹布或纸巾擦拭干净。将松节油与植物油混合使用效果更佳。

※ Pine tree resin oil. Used for oil painting
松树树脂油,用于油画

Before you use your cleaned brushes
使用清洁后的刷子前,请检查并清理刷毛

Since the brushes are infused with oil from the last cleaning, you will need to first thoroughly wipe off the oil with a rag or tissue before painting with them. Any oil remaining on the brush hairs will prevent the lacquer from drying.
由于刷子上残留上次清洁的油,您需要在用它们上漆之前,彻底用抹布或纸巾将其擦拭干净。刷毛上残留的油会影响漆的干燥。

Cracks • Fissures  裂纹 • 裂缝

Any apparent crevice in the pottery is called a “crack.” All other hairline cracks are called “fissures.”
任何明显的陶器裂缝都称为“裂缝”。所有其他细小的裂缝都称为“裂纹”。


h

Supplies  物资

a Small paint brush  一把小画笔
b Precision knife, such as X-Acto (see page 31)
使用锋利的刀片,例如 X-Acto(请参阅第 31 页)

c Rotary tool (we recommend a spherical or bullet-shaped diamond bit)
建议使用带球形或子弹形金刚石钻头的旋转工具。

d 2 plastic heras or spatulas
2 把塑料抹刀或锅铲

e Turpentine oil (the kind typically used for oil painting) or camphor oil
通常用于油画的松节油或樟脑油

f Water  
g Sandpaper (400 grit, 800 grit)
(400 目,800 目)砂纸

h High gluten flour
高筋面粉

i Raw lacquer  初步翻译
j Black lacquer  杰克·布莱克亮漆
Process  进程
Start by tracing the cracks with the rotary tool. Since the teacup’s glaze is made of glass, the rotary tool will roughen up the surface
首先,用旋转工具沿着裂缝进行追踪。由于茶杯的釉料是玻璃制成的,因此旋转工具会使表面变得粗糙。
Try putting some pressure on the cracked area and if there is any kind of creaking noise, you will want to repair it with kintsugi. If the cracked area is immobile and completely stable, there’s no need for mending. which will allow better adhesion of the lacquer.
尝试在裂缝区域施加一些压力,如果听到任何吱吱声,则需要使用金缮修复。如果裂缝区域不动且完全稳定,则无需修复。这将有助于漆器更好地粘附。


On the glass sheet mix mugi-urushi (see page 22) with turpentine into a consistency of Worcestershire sauce. Note that you are diluting the mugi-urushi with turpentine and not the other way around.
在玻璃板上,将麦漆(请参考第 22 页)与松节油混合至伍斯特沙司的浓稠度。请注意,您应该用松节油稀释麦漆,而不是相反。

Load the brush with the diluted mugiurushi and paint the solution into the crack on both sides. This will fortify the area through a process called “ganshin”*.
用稀释的麦漆刷子,将溶液涂抹到裂缝两侧。 这将通过被称为“固辛”* 的工艺加固该区域。

※ ganshin is a technique to fill a hole by pressurizing a solution and curing it.
“灌浆”是一种通过向孔洞中注入浆液并加压使其固化,从而达到填充目的的技术。

4

TIP Let's paint beautifully delicate lines!
让我们一起用优美的线条描绘出精美的作品吧!

Use a brush that is comfortable for you to paint delicate lines in thin layers. If the brush hairs are long, load the entire brush with lacquer. Gravity will naturally push the paint towards the tip and you will be able to paint long lines without reloading the brush.
请使用一支握感舒适的画笔来绘制精致的细线条。如果画笔刷毛较长,请将整个画笔沾满漆料。重力会自然地将颜色推至笔尖,您便可以画出较长的线条,无需反复蘸漆。
Pull the brush toward you as you paint.
上色的时候,将画笔朝自己拉。


6
We will now proceed to nakanuri togi (scraping and polishing the underpainting). Roll 400 grit sandpaper into a cylinder and water wash the painted section. When the lacquer appears about 60 % 60 % 60%60 \% matte, the sandpaper is working.
现在我们将开始中涂研磨(刮磨和抛光底漆)。将 400 号砂纸卷成圆筒状,并用水冲洗上漆部分。当漆面看起来大约 60 % 60 % 60%60 \% 无光泽时,砂纸就开始发挥作用了。

Water wash with 800 grit sandpaper, and now it’s ready for the final step.
用 800 号砂纸进行水洗,现在可以进行最后一步了。
Finally, it’s time for the finishing touches! Go to page 49
好的,现在是收尾工作的最后细节了!请翻到第 49 页


i  

Nicks  来自尼克斯队的

Those chips in the outer layer of the porcelain.
这些碎片位於外层瓷器
Wouldn’t it be nice if it were as easy to fix the chips and nicks that happen in the bonds between people?
要是能像修复芯片和缺口一样轻松地修复人与人之间的隔阂和裂痕就好了。

Supplies  物资

a Small paint brush  一把小画笔
f Raw lacquer  生漆
b Bamboo hera  优化翻译:竹子
g Black lacquer  黑漆
c Cotton swab  棉签,也称为棉签
d Plastic hera  此处的塑料制品
h Sandpaper (400 grit, 800 grit)
使用 400 目和 800 目砂纸打磨

i Tonoko stone powder
我是东江石粉,一种以天然石材为原料的建筑材料,无毒无害,环保节能

e Water  电子水

Types of nicks  昵称的类型

Hotsu-when a small portion has chipped off, usually along the edges.
当较小部分剥落时(通常沿边缘),通常称为“缺损”。


“Moth hole” [or bug bites]
“飞蛾洞” [或虫咬]

When the glaze and base layer cure unevenly, the glaze may shrink and form small “bald spots.” For wabi-sabi enthusiasts, these spots may be considered character-giving and would not be repaired.
釉面和底层不均匀固化时,釉面可能会收缩形成小片“秃斑”。对于侘寂爱好者来说,这些斑点可能被认为是具有特色的,不会进行修复。

Clamshell  翻盖式

As the name implies, these are small nicks with a clamshell like striping or concentric pattern within.
顾名思义,它们是一些小的缺口,具有蛤壳状的条纹或同心圆图案。

Splinter  碎屑

The nicks that barely graze the rim of vessels or pottery.
几乎与器皿或陶器的边缘擦过的刻痕。

Start with the pretreatment. With a cotton swab, apply raw lacquer onto the nick and wipe off excess (see page 21). Then, make sabi-urushi (see page 24).
首先用棉签将生漆涂抹在缺口处,擦去多余的漆(参考第 21 页)。然后根据第 24 页制作サビ漆。
2
Broadly fill the nick with sabi-urushi.
用黄檗漆彻底填满缺口。

TIP How to fill with sabi-urushi
用 sabi-urushi 进行填充的技巧

When it’s difficult to form a “corner” or flat edges with sabi-urushi, try this.
当使用 sabi-urushi 难以形成“角”或平边时,请尝试此方法。

Smooth from the top  从上面平滑地下来
Trim both sides  移除两侧的空格
Interior  室内

7
The second layer of nakanuri. Water wash with 800 grit sandpaper. We will now proceed to the final step.
中涂打磨步骤。 用 800 号砂纸水磨,然后进行最后一步操作。
Finally, it’s time 영 for the finishing touches! Go to page 49
终于要进行最后的润色了!请翻到第 49 页

Finishing touches  进行最后的修饰

By following the simple restoration process, the nicks will become beautifully finished kintsugi!
按照简单的修复过程,缺口将变成精美修复的金缮作品!

Repeat steps 4 7 4 7 4-74-7 on page 46 for nakanuri and nakanuri togi. Now we will proceed to the final step (see page 50).
请在第 46 页上重复 nakanuri 和 nakanuri togi 的步骤 4 7 4 7 4-74-7 。现在进行最后一步(请参见第 50 页)。

TIP How to form a circular shape
如何使用小费形成一个圆形

Part 3
KINTSUGI FINISHING TOUCHES
金缮工艺的最后润色

For the grand finale, we will apply gold finishing powder on the lacquered sections. Aside from the gold powder kinpun there are other finishing powders such as ginfun (silver powder), suzufun (copper powder) and shinchuufun (brass powder). Each has a distinct type of sheen and characteristic, and the fun is in choosing a finish that feels just right for each particular mending project.
在盛大的最后,我们将使用金粉对漆面部分进行装饰。除了黄金粉末(金粉)之外,还有其他装饰粉末,例如银粉(银粉)、铜粉(铜粉)和黄铜粉(黄铜粉)。每种粉末都有自己独特的质感和特性,选择让每件特定修复项目都感觉恰到好处的表面处理效果是一件充满乐趣的事情。

Supplies  物资

a Treatment brush  护理刷
b Small paint brush
小号油漆刷

c Agate burnishing stick
玛瑙抛光棒

d Kinpun/gold powder  金粉
e Sandpaper (800 grit)
800 目砂纸

f Weights (pottery fragments or coins)
陶器碎片或硬币

g Bamboo hera  冈竹她
h Cotton swab  棉签
i Turpentine oil (or camphor oil)
松节油(或樟脑油)

Process  进程

Let’s start with the jinuri that is the base layer of lacquer to which the kinpun/ gold powder will adhere. Squeeze out some red lacquer onto the glass sheet. Keeping this layer extremely thin, paint delicate lines along the mended
让我们从金粉附着的漆底层“津栗”开始吧。在玻璃板上挤出一些红色漆,尽量保持这层漆极薄,然后沿着修补的裂缝画出精细的线条。


j 2 plastic heras or spatulas
2 个塑料奶酪刀或抹刀

k Mawata (silk/cotton batting)
丝绸/棉花填充物

I Red lacquer (purified lacquer with a red pigment called Bengara kneaded in)
我用红色漆(一种用名为“红粉”的红色颜料揉捏而成的精制漆)

m Polishing powder (whetstone powder)
抛光粉(磨刀石粉)

n Raw lacquer  生漆

seams. Cure in the urushi-buro for approximately 15-30 minutes.
将接缝在漆室中固化约 15-30 分钟。


Pick up plenty powder with the mawata (silk/cotton batting).
用棉花或丝绵拾取大量粉末。

2
Prepare the kinpun/gold powder. You’ll be able to see scattered kinpun/ gold powder by placing a black piece of paper underneath. To hold down the wrapper paper, use small stones, coins or pottery fragments.
准备金粉。 将一张黑纸放在下面,你就能看到散落的金粉。 用小石头、硬币或陶片压住包装纸。

There are less expensive alternatives to kinpun but they may cure differently,
除了金喷还有更便宜的替代品,但它们的治疗效果可能会有所不同


Funmaki or the application of precious metal powder, involves taking a pinch of mawata (silk/cotton batting) and pressing it into the kinpun/gold powder. Attach the powder to the lacquer by gently applying the batting in a circular motion. Once the painted area is golden overall, you are done. Cure overnight in the humidified urushi-buro.
将少量生漆棉 (丝绸/棉花填充物) 轻轻按压到金粉或金粉上,这就是金银箔的制作方法。 通过在金粉上轻轻打圈的方式,将金粉附着在漆面上。 整个涂漆区域都变成金色后即可。 在潮湿的漆室中放置过夜,使其固化。
4
The method of fungatame enables the precious metal powder to firmly adhere to the surface (tip 1). Raw lacquer is diluted with turpentine oil with a 1 : 1 1 : 1 1:11: 1 ratio. The solution is then applied on top of the gold powder with a cotton swab. Gently press with tissue to soak up the excess lacquer. Repeat until all the extra lacquer is soaked up. Cure in the urushi-buro overnight.
真空镀金法可以让贵金属粉末牢牢地附着在表面(小技巧)。用松节油按照 1 : 1 1 : 1 1:11: 1 的比例稀释生漆。然后用棉签将溶液涂抹在金粉上。用纸巾轻轻按压以吸取多余的漆,直到所有多余的漆都被吸干净。在漆艺室中固化一夜。

WHY? WHAT?  为什么? 什么?

Why you should cure the jinuri for 15-30 minutes
为什么你应该清洗金耳 15-30 分钟?

A short curing period allows the kinpun/gold powder to set onto the surface of the lacquer. Although you could apply the powder immediately after the jinuri, more powder would sink into the wet lacquer, which is wasteful.
经过短时间的固化,金粉就能依附在漆面上。虽可以直接在涂金前涂抹金粉,但更多的金粉会沉入湿润的漆中,造成浪费。
Sprinkling immediately  立即进行喷洒
Kinpun/gold powder sinks in = using lots of powder
金粉会沉到底部 = 使用了很多粉末

Cure for 15-30 minutes
治疗时间为 15-30 分钟

The powder settles nicely on top of the layer
粉末很好地沉积在该层的顶部

TIP Choosing to skip fungatame
选择跳过 Fungatame

Lacquer Sometimes what you want is the color layer development that occurs when kinpun/ gold powder is directly applied to the jinuri without fungatame. This means that the addition of the lacquer/ turpentine oil solution may be omitted. Since skipping this step doesn’t affect the durability of the repair, it’s an easy way to shorten the process.
有时,您想要的只是将金粉直接涂在金底上而产生的颜色层。这意味着可以省略添加生漆/松节油溶液。由于跳过此步骤不会影响修复的耐久性,因此它是简化流程的有效方法。

Chips  薯条
Using the same steps as the shards section, apply the jinuri with red lacquer. On larger
与碎片部分的步骤相同,使用红色漆涂抹 jinuri。在较大的


surfaces, use a slightly bigger brush. Cure in the urushi-buro for 15-30 minutes.
在表面上,使用稍微大一点的刷子。在漆器炉中固化 15-30 分钟。

Prepare the kinpun/gold powder and black paper (see page 51).
准备金粉和黑纸(见第 51 页)。

3
Apply the gold with mawata (silk/cotton batting). Don’t worry about using too much powder since it can be reused.
用毛掸(丝绵/棉絮)拍打金粉。不用担心用太多粉末,因为它可以重复使用。

TIP When the mawata
提示:当下巴

doesn’t reach  无法抵达
Some areas may be hard to reach with the mawata (silk/cotton batting). For these areas, apply with a brush, using a sweeping motion.
一些地方可能比较难用毛巾(丝/棉填充物)接触到,可以用刷子进行涂抹,并用扫过的动作进行操作。

Small nooks and crannies  细小的地方和角落
6
Dip your finger into rapeseed oil or similar, then add a smidgen of polishing powder and polish the powdered surface. The oil should start evaporating and gradually a golden luster will emerge. Once you have the desired level of golden shine, you are done.
将手指蘸取少量菜籽油或类似的油,然后在抛光剂表面涂抹少许。油会开始挥发,逐渐呈现出金色的光泽。当您得到想要的金色光泽时,即可停止抛光。

With a cotton swab, apply a fungatame mixture that is a 1 : 1 1 : 1 1:11: 1 blend of turpentine oil and raw lacquer.
用棉签蘸取松节油和生漆混合制成的杀菌剂进行涂抹。

Use different parts of the tissue to wipe away the lacquer until all the lacquer is soaked up. Cure overnight in the urushi-buro.
用纸巾的不同部位擦拭漆器,直到所有的漆器都被浸透。在漆器浴中固化一夜。

TIP Burnishing stick vs polishing powder
金刚石研磨棒和抛光粉的使用区别和效果

The burnishing stick is effective for thin lines that are part of shards and cracks. Although the stick is pretty much fail-safe, it takes time. Polishing powder is better for chips and nicks and can be applied quickly with the tip of your finger. Although the polishing time tends to be shorter, be careful not to overdo it and remove the layer of kinpun/gold powder.
烧光棒非常适合处理碎片和裂纹上的细线,虽然它很安全,但需要时间。抛光粉更适合处理崩口和划痕,可以用手指尖快速涂抹。抛光时间往往较短,但要注意不要过度抛光,以免去除金粉层。

Expert Tip  专家建议

Kinpun/Gold Powder Varieties
金粉/金粉类型

There are several types of kinpun/gold powder with various particles sizes. There is no such thing as the one “right” powder for kintsugi-each has its own characteristics, so enjoy experimenting with different powders for different projects.
金粉有多种类型,颗粒大小各有不同。不存在一种“完美”的金粉用于金継ぎ——每种金粉都有其独特的特点,因此请尽情尝试在不同项目中使用不同的金粉。

Commonly used kinpun/gold powder
常见的金粉/金粉

  • Keshifun Gold leaf crushed into fine powder. Also called kindei (some people assert that it’s unstable in high heat)
    金箔磨成细粉,也称为金泥(有人认为金泥在高温下不稳定)。
  • Nobefun An abrasive, filing powder similar to kashifun. Using for filing down edges. Also called hirafun or hirakyokufun.
    诺贝粉是一种类似于细滑研磨粉的研磨材料,可用于打磨边缘。它也被称为平滑粉或平滑曲面粉。

    ※ We use nobefun by the brand Tonohikari for the projects in this book.
    我们在本书的示例项目中使用了日本品牌殿光的诺贝尔芬产品。
  • Marufun A filing powder with round grains like pachinko balls. Marufun comes in sizes 1-15 and the larger the number, the larger the particles (as the particle size increases, the amount per gram decreases)
    Marufon A 是一種顆粒狀粉末,顆粒像彈珠。Marufun 有 1-15 種尺寸,數字越大,顆粒越大(顆粒大小增加,每克數量減少)。

Marufun #3 and #1  马鲁丰三号和一号
Red lacquer  中国红漆器
Since the cost per gram for keshifun and nobefun is more than for marufun, and because the togi process is unnecessary, they are better suited for kintsugi beginners. The different particle sizes for marufun are often combined. For example, some people apply only #2, others may start with #3 and follow up with #1, and still others may start with #5 and finish with #3 and so on. A tubular tool called funzutsu is used for marufun. The bigger the particles, the more substantial and well-rounded the kintsugi, but due to the cost and learning curve involved, we used nobefun instead.
由于每克 keshifun 和 nobefun 的成本高于 marufun,并且 togi 过程是不必要的,因此它们更适合金缮初学者。marufun 不同的颗粒尺寸通常会组合使用。例如,有些人只使用 #2,有些人可能从 #3 开始,然后使用 #1,还有些人可能从 #5 开始,然后用 #3 等等。marufun 使用一种叫做 funzutsu 的管状工具。颗粒越大,金缮越厚实,也更圆润,但由于成本和学习曲线的原因,我们使用了 nobefun。

Fungatame  狂野游戏

Supplies  物资

a Ginfun/silver powder  银色/银粉
b Shinchuufun/brass powder
精炼翻译:来自信超丰/黄铜粉

c Suzufun/copper powder  铜制粉末
d Sandpaper 800 grit
800 目细砂纸

e Treatment brush  e 涂抹刷
f Small paint brush
小型毛笔

g Agate burnishing stick
玛瑙研磨棒

h Weights (pottery fragment, coins, etc.)
器皿碎片、钱币等重物(陶器碎片、钱币等)

i Turpentine oil (or camphor oil)
松节油(或樟脑油)

j 2 plastic heras or spatulas
2 个塑料奶酪刀或抹刀

k Red lacquer  红色漆器
I Bamboo hera  我用竹子为她做了这个
m Cotton swab  棉签
n Polishing powder (whetstone powder)
抛光粉末(磨刀石粉末)
  • Black lacquer  黑色的漆器

Process  进程


(1) Ginfun/Silver powder
银粉

2
Prepare the ginfun/silver powder and black paper. Pick up some powder with the treatment brush and apply the powder without picking up the lacquer onto the brush (see tip on page 58). Then follow the steps for applying kinpun/gold powder. Proceed with fungatame and when you have achieved a sheen, you are done.
准备好银粉/银粉和黑纸。用毛笔将银粉轻轻扫上,避免蘸取漆面(参见第 58 页的提示)。然后按照粘贴金箔(kinpun)的步骤进行操作,完成后进行磨光处理,待表面呈现光泽即可。
We will start with the jinuri step as we did with the kinpun/gold powder finishing. Black lacquer will be used for ginfun/silver powder. White lacquer works as well. Apply a thin layer and cure for 15-30 minutes in the urushi-buro.
我们将按照金粉/金泥的步骤,从银粉/银泥的步骤开始。银粉/银泥将使用黑漆。白漆也可以使用。涂抹一层薄薄的漆,在漆器箱中固化 15-30 分钟。

Process  进程

(1) Suzufun/Copper powder
(1) 石墨粉/铜粉

Black or white lacquer is recommended for suzufun/ copper powder as well. This project will require painting both outer and interior sides, and we started the jinuri with the side that is harder to paint. This way we can avoid touching the parts that have already been painted and muck up the area. Paint thin layers and cure in the urushi-buro for 15-30 minutes.
建议在铃木纯/铜粉上也使用黑色或白色漆。该项目需要对内外两侧进行喷漆,我们从难以喷漆的一侧开始进行喷漆。这样可以避免触摸已经喷漆的区域,弄脏区域。喷薄层并使其在漆室中固化 15-30 分钟。
2
Prepare the suzufun/copper powder and black paper. Similar to the jinuri step, start the funmaki (powder application) with the more difficult areas.
准备苏合香/铜粉和黑纸。与金缕步骤类似,从更难处理的区域开始刷粉(粉末涂抹)。

When you have finished applying powder to the other side, proceed to the fungatame step. Polish until shiny. All done!
将另一侧的粉末涂抹完成后,进行抛光步骤。抛光至光亮。全部完成!

TIP Brush outside in
用毛刷由外向内刷洗

Sweep in the powder from outer edge of the jinuri areas.
从外缘区域的粉末中扫描。

Process  进程
1
Shinchuufun / Brass powder
黄铜粉末

We will use red lacquer for shinchuufun / brass powder. Paint thin layers and cure in the urushi-buro for 15-30 minutes.
将真鍮粉涂抹红色漆。薄薄地涂抹,并在漆室中干燥 15-30 分钟。

Prepare the shinchuufun/brass powder and black paper (see page 51). Pick up some powder with the treatment brush and apply the powder. Try not to get any lacquer on the brush. Proceed to the fungatame step and polish until shiny. All done!
准备新铸造的黄铜粉末和黑纸(请参阅第 51 页)。 用处理刷子取一些粉末并涂抹。 尽量避免刷子上沾到漆。 然后进行研磨抛光,直至呈现光亮。 这样就完成了!

Expert Tips  专家意见

About Precious Metal Powders
关于贵金属粉末

Ginfun/silver powder, suzufun/copper powder, and shinchuufun/brass powder all have their own unique properties and luster. Considering the mending project’s design and vibe when choosing the finishing powder is an additional way of enjoying kintsugi.
金银铜粉各具特性和光泽,选择合适的金粉进行装饰也是金缮的乐趣之一,要考虑作品的设计风格来进行选择。

Silver  银色

The discoloration and darkening commonly found in aging silverware is not actually oxidation but sulphuration. The patina evokes Ibushigin or the Japanese concept of subdued beauty.
老银器上常见的变色和变黑实际上不是氧化而是硫化。这种铜绿让人联想到“侘寂”,即一种朴素的日本美学概念。

The timing for applying precious metal powder
贵金属粉末的应用时机

Although you could immediately apply the metallic powder after painting the lacquer layer, curing the lacquer for about 15 to 30 minutes in the urushi-buro will enable the powder to adhere better. Also, curing prevents the powder from sinking into the lacquer, which means you will end up using less precious powder.
尽管金属粉可以在漆层干燥后立即使用,但建议在漆室中先固化 15-30 分钟,能让粉末更好地粘附。而且,固化可以防止粉末沉入漆中,节省贵金属粉的用量。

Aoiki  青木

Conversely, if breathing on the surface results in fogging (like blowing on a glass window on a cold day), the lacquer is too dry for the metallic powder to adhere. You will need to water wash with 800 grit sandpaper and paint another layer of lacquer.
相反,如果在表面呼吸后出现雾气(就像在寒冷的冬日对着玻璃窗哈气一样),则说明漆面过于干燥,金属粉无法附着。此时,您需要使用 800 目砂纸进行水洗,并重新喷涂一层漆。

Copper  

Copper was used as an alternative to silver. A more economical option, to be sure, but copper often oxidizes and corrodes easily. Copper is also used beneath the gold layer of embossed gilt lacquerwork.
铜作为银的替代品,虽然更经济实惠,但容易氧化和腐蚀。铜也用于压花镀金漆器金层之下。

Cured for 15-30 minutes
固化处理 15-30 分钟

The surface transforms into a rainbow (like an oily sheen) for a moment
表面瞬间变成了彩虹色(像油膜一样)

OK to apply  好的,可以申请
finishing powder  精致定妆粉
Pewter (copper alloy) plate
锡合金(青铜)板

Brass  黄铜

An alloy of copper and zinc. The color fades a little over time. The author has used a brass powder with proportionally more zinc to avoid the color of an old penny.
黄铜是一种由铜和锌组成的合金。颜色会随着时间的推移而略微褪色。作者使用了含锌量更高的黄铜粉末,以避免旧便士的颜色。
Cured for over 30 minutes
固化超过 30 分钟

Stays white and foggy  持续白雾
Too dry [or overcured]
过于干燥(或腌制过度)

longrightarrow\longrightarrow Sand down and paint again
用砂纸打磨并重新涂漆

(During the warmer months, curing takes less time so stay alert!)
在温暖的月份,固化时间会缩短,因此请保持警惕!

Missed spots  遗漏的区域

There are occasions when you’ve reached the final stages of polishing the metallic powder and you will notice that you missed some spots or that some sections are uneven. This is particularly common when there are a number of places to apply the powder. Luckily, it’s possible to fix these issues without redoing everything.
在抛光金属粉末的最后阶段, 您可能会注意到一些地方没有抛光到或者有些不均匀。 这在需要抛光很多地方时尤其常见。 幸运的是,您可以修复这些问题,而无需重新做一遍。

(1) Where there is not enough powder, apply a fresh coat of red lacquer on the exposed areas.
在粉末不足的地方,在裸露区域重新涂抹一层红色漆。

(2) Cure for 15 minutes, then apply the same type of powder to the newly cured lacquer.
将油漆固化 15 分钟,然后在刚刚固化的油漆表面上涂抹相同类型的粉末。

(3) Cure in the urushi-buro.
在漆浴中治愈
From this point, repeat the polishing steps. It’s normal to perform these types of fixes.
从这里开始,请重复抛光步骤。进行此类修复是正常的。

You could even say that the ease of touch-up is one of kintsugi’s many appeals.
可以说,金缮容易修复是它众多吸引力之一。

Taikiba and Inukiba  太一和伊奴

Some people use a tool called taikiba, which means “red snapper teeth,” for the funmaki step to apply the finishing powder. Some others like to use something called inukiba which
有人喜欢在卷寿司的最后一步,也就是“封边”这一步,会用到一种名为“鲷鱼牙”的工具,它可以帮助涂抹最后仕上げ的粉末。 有些人则更倾向于使用名为“猪毛棒”的工具


utilize dogs’ teeth. These tools are gentler than the burnishing sticks made out of stones such as agate.
使用狗的牙齿进行切割,这些工具比用玛瑙等石头制成的磨棒更温和。
If you are unable to acquire a taikiba or inukiba, an agate burnishing stick can be ordered from stores specializing in metalwork supplies.
如果你无法找到合适的太刀木或伊努木,可以在金属加工用品店购买玛瑙抛光棒。

Part 4  第四部分

OTHER KINTSUGI APPLICATIONS
除陶瓷修复外,金缮还有许多其他应用。

In addition to the methods introduced so far, there are a number of other ways to apply kintsugi. Some techniques may require new tools or could take more time; however, taking on the challenges will enrich your kintsugi adventure.
除了现有的方法之外,还有许多其他的金缮修复方法。有些技术可能需要新的工具或花费更多时间;然而,迎接挑战将使您的金缮之旅更加丰富。

Supplies  物资

a Raw lacquer  生漆
b 2 plastic heras or spatulas
将 2 个塑料抹刀或锅铲放在一起

c High gluten flour
高筋面粉

d Water  将饮用水
e Rotary tool (for drilling holes-use a low setting)
使用低速设置的电动工具(用于钻孔)

f Hammer that is on the smaller side
小巧的锤子

g Silver wire ( 0.8 1 mm 0.8 1 mm 0.8-1mm0.8-1 \mathrm{~mm} )
镀银导线 ( 0.8 1 mm 0.8 1 mm 0.8-1mm0.8-1 \mathrm{~mm} )

h Pliers  手钳
i Wire cutter  我使用钢丝切割机

Process  进程

2
Mend in the same way as shown on pages
在同一个页面上,按相同的步骤进行修补

28 33 28 33 28-3328-33. Then drill holes for the kasugai staples.
28 33 28 33 28-3328-33 钻一些孔,然后用鹤嘴钉进行固定。

Prepping the holes by initially positioning the staples (wherever you like) and marking the hole locations with an oil-based pen is helpful.
在开始打孔之前,使用油性笔标记穿孔位置,可以方便您将订书钉放置在您想要的位置。

3
Drill the holes with the rotary tool. Taking care not to pierce all the way through, drill a hole that is about 1 / 16 1 / 8 1 / 16 1 / 8 1//16-1//81 / 16-1 / 8 " ( 2 3 mm ( 2 3 mm (2-3mm(2-3 \mathrm{~mm} ) deep. Keep checking the depth as you drill (see tip below).
使用旋转工具钻孔时,请务必小心,不要完全刺穿。钻孔深度约为 1 / 16 1 / 8 1 / 16 1 / 8 1//16-1//81 / 16-1 / 8 英寸( ( 2 3 mm ( 2 3 mm (2-3mm(2-3 \mathrm{~mm} 厘米)。钻孔时,请持续检查深度(请参阅以下提示)。

4
Fill the hole with mugi-urushi (see page 22).
用米浆漆将孔洞填平(详情请见第 22 页)。
5
Placing a piece of wood or board underneath will make hammering in the Kasugai staples easier (tip 2).
在木板或木板下面放置一块木头将使春日钉更容易敲打。(2 号提示)

WHY? WHAT?  为什么? 什么?

What is Kasugai?  春日井市是一个什么样的城市?

Kasugai are joining materials that have long been used to attach stone and wood pieces together. In the pottery world, this joining technique was common from the Edo period until the early part of the Showa period. The cultural treasure “Bakouhan” (Tokyo National Museum) is a famous example of kasugai usage.
鏹是一种用于连接石材和木材的材料,在陶器世界中,这种连接技术从江户时代一直到昭和初期都很常见。东京国立博物馆的藏品“貘汉”就是使用鏹的一个著名例子。

Bakouhan  爆炸汉
TIP Diligently check the holes!
请仔细检查漏洞!

Make sure to frequently check the depth of the holes by inserting a toothpick or sewing needle. If you drill too deep, there is a danger of piercing all the way through and cracking the surface, and if you don’t drill deep enough, the staples will not securely fit.
为了确保订书钉的牢固性,请使用牙签或缝衣针经常检查孔的深度。如果钻得太深,可能会刺穿表面并造成开裂。如果钻得不够深,订书钉将无法牢固地固定。

Once the staples have been securely inserted, cure in the urushiburo about 1 week.
将订书钉牢固地插入后,在漆箱中固化约一周。


(7) Consider applying metallic powder to the staples  Consider applying metallic   powder to the staples  {:[" Consider applying metallic "],[" powder to the staples "]:}\begin{gathered}\text { Consider applying metallic } \\ \text { powder to the staples }\end{gathered}  (7) <代码 0>
Once cured, remove excess mugi-urushi with sandpaper or cutting tools. Then paint with your preferred lacquer color. We used black lacquer to play up the silver color of the wire against the white vessel. Once again, cure in the urushiburo for at least one
固化后,使用砂纸或切割工具去除多余的麦漆。然后,使用您喜欢的漆色进行涂装。我们使用了黑色漆,以突出银色金属丝在白色器皿上的颜色。最后,再次将漆器放入漆室中固化至少一个


night.  夜晚。
TIP To secure the kasugai staples
使用 TIP 固定春日井订书钉

The illustration shows how hammering in the kasugai staple collapses it to reinforce the mended areas. Be careful not to hammer too hard and break the vessel. Tap lightly and/or use a rubber tipped jeweler’s hammer.
插图显示了如何捶打鎹钉以使其塌陷,从而加固修补区域。请勿用力敲击,避免损坏器皿。建议轻轻敲击,或使用橡胶头金匠锤。

Supplies  物资

a Small paint brush  一把小画笔
b Precision knife such as X-Acto (see page 31)
使用 X-Acto 等精密刀具(见第 31 页)

c Bamboo hera  竹子是一种禾本科植物
d 2 plastic heras or spatulas
2 把塑料抹刀或锅铲

e Tonoko stone powder
源自东吴石灰粉

f Water  
g Masking tape  纸胶带
h Sandpaper (400 grit, 800 grit)
使用 400 目和 800 目砂纸打磨

i Alligator pliers  鳄鱼钳
j Raw lacquer  生漆
k Black lacquer  K 碳黑色漆
First, we will prepare the fragment that will be attached to the chip using the yobitsunagi technique. Look for a piece that matches the chipped area in terms of size, thickness and curvature. Place the fragment against the chipped area and trace the shape that needs to be filled.
首先,我们将使用拼接技术准备一个将要连接到芯片上的碎片。寻找一个在尺寸、厚度和曲率方面与缺损区域相匹配的碎片。将碎片放在缺损区域上,并描出需要填充的形状。


Modify the fragment to fit into the chipped area. Electric cutters and gliders could be useful, but a tool used for stained glasses called “alligator pliers” is handy here. Cut along the marking with the pliers, as if you are chewing off the unnecessary sections.
将碎片修改成适合破损区域的尺寸。可以使用电动切割器和滑翔机,但建议使用名为“鳄鱼钳”的彩色玻璃工具,将其沿着标记切割,就像咀嚼掉不需要的部分一样。

Fine-tune the shape with a rotary tool or sandpaper. From time to time, check to see how the fragment is fitting into the chipped area.
使用旋转工具或砂纸精修形状。 定期检查碎片是否与缺损区域吻合。

Apply mugi-urushi (see page 22) and attach the fragment. At this stage, even if there is a small gap or slight unevenness, we will be able to patch it up later, so don’t worry.
使用柿子漆(见第 22 页)并附上碎片。即使在这个阶段存在小间隙或轻微的凹凸不平,我们也能够在稍后进行修补,所以不用担心。
5
Secure with masking tape and cure in the urushi-buro for at least one week.
用胶带固定并放在漆室中固化至少一周。


Once cured, trim the excess mugi-urushi with a precision knife or by water washing with sandpaper.
固化后,用精细刀或水磨砂纸去除多余的麦漆。

WHY? WHAT?  为什么? 什么?

What is yobitsugi?  比特币是一种电子货币,通过网络进行点对点支付。它通过密码学的方式进行加密和安全,其匿名性使其被部分人用于非法交易

Yobitsugi is a way to patch broken areas with fragments from a different vessel or pottery piece. Obviously it would be rare to find a perfectly matching piece and a fair amount of persistence and patience is required to find suitable fragments. Keep your eyes peeled for potential yobitsunagi candidates.
継ぎは、欠けた部分を別の器のかけらで補修する方法です。 完全な一致を見つけることは難しいですが、辛抱強く探せば、合うものが見つかるかもしれません。 継ぎに使えるかもしれないかけらを探してみてください。

What is tomotsugi?  什么是传承?

A method similar to yobitsugi using fragments from a different pottery piece. However, the goal of tomotsugi is to find fragments that closely match the item to be repaired. Originally, tomotsugi involved using fragments from pieces that originated from the same pottery batch, even if the pieces themselves were different.
类似于 yobitsugi 的一种方法,但使用了来自不同陶器碎片。然而,tomotsugi 的目的是要找到与待修物品紧密匹配的碎片。最初,tomotsugi 使用来自同一批陶器的碎片,即使碎片本身是不同的。
7
If there are gaps after attaching the fragment, fill them with sabi-urushi (see page 24) or kokuso-urushi. After filling the gaps, cure in the urushi-buro for about one week.
如果连接完部件后留有任何空隙,务必用茶渍漆(参考第 24 页)或黑草漆予以填补。填补完成后,需在其上涂漆后再进行固化,具体时间在 一周左右。

8
Once the lacquer has cured, water wash with 800 grit sandpaper. Paint a layer of nakanuri with black lacquer and cure overnight. The project can be considered done at this point, or finish with metallic powder (see page 50).
清漆固化后,用 800 目砂纸水磨。用黑色漆刷一层中塗り,自然阴干过夜。此时作品可以完成,也可以用金属粉完成(见第 50 页)。
Since it’s nearly  由于它已经接近了

impossible to find a fragment that will fit perfectly, don’t be discouraged if the piece is attached wonkily. Dive in with whole-hearted enthusiasm and enjoy the kintsugi process and the imperfections.
找到一个完全合适的碎片是不可能的,如果碎片连接得有些歪歪扭扭也别灰心。全心全意地投入到金缮中,享受金缮的过程和不完美。



m

Glass-tsugi  “玻璃-tsuki”

Glass-tsugi is quite special and uses gold leaf.
玻璃青金石相当特殊,并使用了金箔。

g

Supplies  物资

a Bamboo hera  一支翠竹长矛
b Cotton swab  棉签
c Ikake-urushi (lacquer for applying gold leaf)
髹金漆 (用于粘贴金箔的特殊漆)

d Raw lacquer  生漆/原漆
e Plastic hera or spatula
塑料刮刀或抹刀

f Water  
g Gold leaf  金叶
h High gluten flour
高筋面粉

i Masking tape  使用遮蔽胶带
j Mawata (silk/cotton batting)
吉马瓦塔(真丝棉絮)

k Ruler  公制刻度尺
I Retractable utility knife (we recommend using it with a cutting mat) m Tweezers (for cutting and handling gold leaf)
可伸缩美工刀(建议搭配切割垫使用) m 镊子(用于切割和处理金箔)

Process  进程

First, cut the gold leaf to match the length of the broken piece. Place a ruler against the gold leaf to cut straight.
首先,将金箔切割成与破损部分相同长度。 为了确保切割平直, 请使用尺子作为辅助工具。

Using tweezers lightly lay gold leaf over the area, and use cotton to press it into place. Let it sit for about a week.
轻轻用镊子将金箔平铺在需要覆盖的区域,用棉签轻轻按压使其平整,放置约一周时间。

Pour out a small amount of Ikkake-urushi on the glass sheet and using a cotton swab, apply a thin layer to the broken edge.
将少量的生漆倒在玻璃板上,用棉签将其薄薄地涂抹在断裂的边缘。

After a week and when the gold leaf has cured, assemble the fragments and prepare the strips of masking tape
待金箔固化一周后,将碎片组装起来,并准备好遮蔽胶带条。


Start attaching the smallest fragments first. Use mugi-urushi (22 page) as the adhesive.
首先,使用小麦漆(第 22 页)作为粘合剂,先将最小的碎片粘起来。

If the glass has broken apart into many pieces, use the shown example as a guide and assemble all the smallest pieces first, then assemble medium-sized pieces and so on. Once all the pieces have been glued together, secure with masking tape.
如果玻璃破碎成很多碎片,请参考提供的示例,先将所有最小的碎片拼在一起,然后拼中等的碎片,以此类推。所有碎片粘合完成后,用遮蔽胶带固定。

Attach the biggest pieces last.
最后连接最大的部件。

WHY? WHAT?  为什么? 什么?

Why is a different method used for glass?
为什么玻璃要使用不同的方法?

Due to the transparency of glass, if the traditional methods are used, the base coat color of the nakanari lacquer will show through, which doesn’t always look beautiful. Sandwiching the gold leaf prevents the lacquer color from showing through and makes for a cleaner finish.
因为玻璃是透明的,如果使用传统方法,中漆的底色就会透出来,这看起来并不美观。夹金箔可以防止漆色透过来,使表面更干净。

Wrap the entirety with masking tape to secure and cure in the urushi-buro for about one week.
用胶带将整个包裹物包裹起来,在漆室中固化大约一周。

9

When the lacquer dries, go back and fill in any gaps with more lacquer, repeating multiple times if necessary, then trim the excess with a fine blade or similar. Finish off with your favorite powder or lacquer. I did this one with a powder finish. It gives the metal a interesting look.
当漆干燥后,多次返回反复填充任何间隙,如果需要可以使用更多漆,然后用锋利的刀片或类似工具修剪掉多余部分。最后用你最喜欢的粉末或漆完成。我用的是粉末完成,它给金属带来了一种有趣的外观。

TIP If it seems too difficult...
如果看起来太难了,可以考虑把它分解成更小的步骤。

Mending glass is an advanced level technique. For those that find it challenging, substituting the lacquer with expoxy adhesive may make the process easier. Epoxy adhesives can be found at home improvement stores like Lowe’s or Home Depot. Consider curing with adhesives for a longer period to increase durability.
\"修复玻璃是一种高级技术。对于那些觉得这项技术具有挑战性的人来说,可以用环氧树脂胶代替漆,可能使这项工作更容易。可以在劳氏或家得宝等家居建材商店找到环氧树脂胶。建议使用粘合剂固化更长时间,以提高耐久性。\"

Supplies  物资

a Small paint brush  一把小画笔
b Precision knife, such as X-Acto (see page 31)
精准刀具,例如 X-Acto(见第 31 页)

c Bamboo hera  竹子是一种禾本科植物
d Raw lacquer  生漆/原漆
e Cotton swab  棉签
f 2 plastic heras or spatulas
2 个塑料搅拌器或刮刀

g Water  
h Masking tape  用于遮蔽的胶带
i High gluten flour
Process  进程
  1. Ceramic spoon  陶瓷汤匙
Start with the pretreatment (see page 20). Prepare edges with the rotary tool, apply raw lacquer and attach fragments together with muji-urushi (see page 22) after curing. Use masking tape to secure a wooden chopstick or stir stick as a splint. Cure in the urushi-buro for about one week.
首先,进行预处理(见第 20 页)。使用旋转工具处理边缘,涂抹生漆,并在固化后用木胶(见第 22 页)将碎片粘合在一起。用遮蔽胶带将木筷子或搅拌棒固定作为夹板。在漆器室中静置约一周时间固化。

j Splint (popsicle stick, stir stick or pencil)
临时夹板(冰棒棍、搅拌棒或铅笔)

k Sandpaper (400 grit, 800 grit)
400 和 800 号砂纸

I Washi paper (Misugami washi is recommended) m Rotary tool
建议使用美浓纸(三杉纸)和圆形切割工具

2
Once cured, scrape off the extra lacquer with a precision knife or sandpaper.
固化后,用锋利的刀或砂纸轻轻刮掉多余的漆。

Prepare the reinforcing washi paper. Make a thin fold near the edge, then use a wet brush to “paint” the fold with water. Tear the paper along the fold to create thin strips.
准备好用来加固的和纸。在边缘附近做一个细细的折痕,然后用湿润的画笔轻轻地“涂抹”折痕,使其稍微润湿。沿着折痕撕开和纸,就可以得到细细的纸条。
By using the kuisaki method to tear the washi paper into strips, the edges can be joined smoothly during the mending process. Kuisaki is the practice of wetting washi before tearing.
使用“水先撕”方法将和纸撕成条状,在修补过程中可以将边缘平滑地连接起来。“水先撕”是指在撕纸之前用水将和纸打湿。
3


getting glue on your hands.
手上沾上胶水

Spread a thin layer of mugiurushi onto the glass sheet. Then place a washi strip on top of the lacquer and press the paper into the glue with the hera.
“在玻璃纸上均匀涂抹一层薄薄的麦漆。然后将和纸条放在漆面上,用板刷轻轻按压将纸与漆粘合。”

Gently lift the edge of the washi paper with the bamboo hera.
用竹铲子轻轻地将和纸的边缘抬起。


Holding the unglued part of the washi strip, wrap the washi strip around the spoon like a bandage.
将和纸条卷起来,缠绕在勺子上,就像绷带一样裹住勺子。

TIP Nori-urushi and mugi-urushi
Nori-urushi 和 mugi-urushi 是日本传统漆器技艺,以天然材料为原料制作而成。

Mugi-urushi is a rather viscous adhesive and is not best suited to gluing washi paper. On the other hand, nori-urushi (made from 1 part rice flour and 4 parts water boiled in a pan then mixed with equal parts raw lacquer) is less viscous but works better for washi paper and cures in a day. Choose whichever you prefer.
麸皮漆是一种比较粘稠的粘合剂,不太适合粘贴和纸。另一方面,米汤漆(由 1 份米粉和 4 份水在锅中煮沸,然后与等量的生漆混合)粘稠度较低,但更适合粘贴和纸,一天即可固化。您可以根据自己的喜好选择使用哪种漆。


Once the washi stripped has been completely wrapped, add some more mugi-urushi to secure the ends with your fingers or bamboo hera. Cure
当和纸完全包裹后,用更多麦麸漆固定末端,可以用手指或竹制刮板辅助。固化

Once cured, scrape off any excess lacquer and trim the edge of the
固化完成后,刮掉多余的漆并修整边缘。


washi paper with a precision knife. Water wash with sandpaper and paint several nakanuri layers. You can leave the washi paper as is for the texture or if you prefer, smooth it out with sabi-urushi.
使用锋利的刀切割和纸。用水和砂纸清洗,涂刷几层中涂。可以保留和纸的纹理,或者用錆漆使其更光滑。

Try finishing it with kinpun/gold powder (see page 50 ), and now you’re all done. Although the mended section may be a little bulky, it should be sturdy and ready for use.
尝试用金粉/金粉(见第 50 页)完成它,现在你已经全部完成了。虽然修补的部分可能有点厚实,但它应该是坚固耐用的。


4
Center the width of the washi strip on the broken section of the handle and wrap it around like a bandage. Cure once again in the urushi-buro for about one week.
将和纸条的宽度对齐手柄断裂部分的中心,像绷带一样缠绕。在漆刷中再次固化大约一周时间。


Scrape off the excess lacquer with a precision knife and water wash with sandpaper. Apply several layers of nakanuri with black lacquer.
用锋利的刀和水砂纸刮掉多余的漆,将黑漆刷多遍。
Finish with your preferred precious metal powder (see page 50) and it is complete. We used ginfun/ silver powder for this project.
使用您首选的贵金属粉末(见第 50 页)进行最终处理。本项目中我们使用了 ginfun/ 银粉。
6

Supplies  物资

a Wire  一条电线
b High gluten flour
高筋面粉

c 2 plastic heras or spatulas
两个塑料材质的刮刀或抹刀

d Flux (a type of lead silicate called shiratamako in Japan. For unleaded white powder, look for Frit instead
铅熔剂(一种在日本称为 shiratamako 的铅硅酸盐。对于无铅白色粉末,请选择熔块。)

e Masking tape  e 型遮蔽胶带
Because it was more economical, “common folk” supposedly utilized yakitsugi instead of kintsugi until the Meiji period.
在江户时代之前,“普通百姓”据说一直使用 yakitsugi 而不是 kintsugi,因为它更经济实惠。
Combine 1 part flux and 1 part flour paste (water + flour) and blend together. Apply the mixture to the fragment Process edge with a hera and glue pieces together.
将助焊剂和面粉糊(水和面粉)以 1:1 的比例混合并搅拌均匀。用刮板处理碎片边缘并将碎片粘合在一起。

2
Secure with masking tape and cure for 1 to 2 days. Once cured, remove the tape and wrap with wire to secure.
用胶带牢固地固定并固化 1-2 天。完成后,移除胶带并用金属丝缠绕固定。

3. Cure in an electric kiln oven at 1112 F / 600 C 1112 F / 600 C 1112F^(@)//600^(@)C1112 \mathrm{~F}^{\circ} / 600^{\circ} \mathrm{C} for 2 hours.
1112 F / 600 C 1112 F / 600 C 1112F^(@)//600^(@)C1112 \mathrm{~F}^{\circ} / 600^{\circ} \mathrm{C}

3

Put on a chawan (teacup or rice bowl) to stabilize.
将物品放在茶碗(茶杯或饭碗)上以保持稳定。

Check the kiln temperature and when it has cooled down, take out the mended project. The glued flux sections will have melted to look like a glaze. All done!
检查窑温,待冷却后取出修复物件。经粘合的熔剂部分会熔化成釉状。完工!

Expert Tips  专家意见

How to Care for Projects Mended with Kintsugi
如何保养用金缮修复过的作品?

Although you could certainly treat the mended projects just as you did prior to kintsugi, they are like injured friends, and extra gentle care will go a long way.
虽然您当然可以像金缮之前那样对待修复过的项目,但它们就像受伤的朋友,额外的细心呵护会大有帮助。

How to avoid damaging kintsugi
如何避免金繼損壞

  • Try not to soak them in water for too long
    尽量不要浸泡在水中太久

  • Avoid harsh cleansers and handle gently when washing
    避免使用刺激性清洁剂。请在清洗时轻柔处理
  • Avoid microwaves and dishwashers. The microwave may burn and disintegrate the lacquer; the lacquer may peel off in the dishwasher.
    为了避免损坏漆面,请勿使用微波炉或洗碗机。微波炉可能会烧坏漆面,导致其溶解;洗碗机可能会导致漆层剥落。
  • Avoid placing item in a pot or saucepan over direct heat.
    请勿将物品直接放在明火或平底锅上加热。
  • Avoid storing in dry or dehydrating places. Technically, the cold air in refrigerators has a dehydrating effect.
    避免存放在干燥或容易失水的地方。从技术上讲,冰箱中的冷空气会造成失水。
  • Kintsugi is surprisingly okay with bleaching agents. The author has found that bleach helped brighten the kintsugi.
    金缮工艺对于漂白剂的耐受性出乎意料地高。作者发现,漂白剂可以帮助提亮金缮作品的颜色。

To prolong the life of kintsugi
为了延长金缮的寿命

Lacquer is a natural high polymer substance with excellent acid-resistant, waterproof and antiseptic properties that protect against alkalinity, salinity and alcohol. With a little bit of care, you can enjoy the fruits of your kintsugi labor for a very long time.
漆是一种天然的高分子物质,具有优异的耐酸、防水、防腐性能,可以抵抗碱性、盐度和酒精的侵蚀。只要稍加注意,你就可以长时间享受 kintsugi 修补后的美观和实用。

Q & A  问答

In this section we compiled common questions and discussion points that have come up in the Kintsugi Club.
在这一部分,我们收集了金缮俱乐部中出现过的常见问题和讨论点。

Q1 About how much is the initial investment for kintsugi?
金缮的初始投资大约是多少? ---

If you mend with precious metal powders other than gold, you can start with about US$35-45. Kinpun/ gold powder varies in price, since the cost of precious metal fluctuates and costs vary by vendor, but a gram is approximately US $ 100 $ 100 $100\$ 100. Shinchuufun/brass powder is a low-budget option.
如果您使用除金以外的其他贵金属粉末进行修复,起步资金约为 35-45 美元。金粉的价格会因贵金属成本波动和供应商成本差异而有所不同,但每克大约在 US $ 100 $ 100 $100\$ 100 美元左右。黄铜粉是一种较为经济实惠的选择。

Q2 What would be considered beautiful kintsugi?
什么样的金继会被认为是漂亮的?

It is entirely subjective, of course, but kintsugi tends to look better when the painted lines are delicate. At the same time, the purpose of kintsugi is to repair and reinforce, so it doesn’t necessarily follow that the thinner the line, the better. “Does it look strange?” “Is it too dominant?” “Is (the mended section) too lumpy or uneven?” You will gradually be able to understand and address these types of questions as you become familiar with the process and experience each type of mending project.
当然,这完全是主观的,但是当绘制的线条纤细时,金缮往往看起来更美观。然而,金缮的目的是修复和加固,所以线条越细越好,并不一定。 "看起来奇怪吗?" "太突出了吗?" "(修补部分) 太凸起或不平整了吗?" 随着您熟悉修复过程并经历各种修补项目,您将逐渐能够理解和解决这些问题。

Q3 Is there a supplier of kintsugi materials? Do you have any recommendations?
有金継ぎ材料供应商吗?您有推荐的吗?

There are many websites (and the number is growing) where both traditional and synthetic kintsugi materials are sold. Check fine art supply stores as well. You may also be able to find many of the materials in the woodworking and paint supplies sections of home improvement stores. Note that the commonly sold shin-urushi is easy for beginners to use, but it is a synthetic lacquer. For brushes, I recommend the ones meant for applying powder or any brand of paint brush in size 0 . Menso brushes are okay too. If you invest in better quality, your brushes will last longer and you’ll save n the long run.
越来越多网站(数量还在增加)销售传统和合成金缮材料。还可查看美术用品商店。您或许还能在家居建材商店的木工和油漆用品区找到许多材料。请注意,市面上常见的银漆初学者易于使用,但它是一种合成漆。对于刷子,我推荐用于涂抹粉末的刷子或任何 0 号品牌的油漆刷。Menso 刷子也可以。如果您投资购买更高质量的刷子,您的刷子将使用更长时间,从长远来看您将节省资金。

Q4 Are there certain materials suited or not suited for kintsugi?
Q4 哪些材料适合金缮,哪些材料不适合?

Kintsugi is best suited for glazed earthenware and ceramic/porcelain pieces. When pottery is unglazed, the lacquer tends to soak and leak which makes the kintsugi process difficult. Glass and lacquer typically do not work well together, but can be an excellent challenge for intermediate level kintsugi practitioners.
金缮最适合用于上釉的陶器和陶瓷/瓷器。当陶器没有上釉时,漆会渗入和渗漏,这使得金缮过程很困难。玻璃和漆通常不能很好地一起使用,但对中级金缮从业者来说是一个极佳的挑战。

Q5 Does lacquer expire?
清漆会失效吗?

Unopened, a tube of lacquer usually lasts about a year. The curing capacity of lacquer declines with time, especially after summer. However, adding fresh lacquer will boost the curing strength, and placing the lacquer tube in the refrigerator will prevent deterioration (I was taught that there is no such thing as lacquer that doesn’t cure). Regardless, lacquer will always cure with enough time, so take the long view and enjoy the process of kintsugi.
未开封的漆管通常能保存约一年。漆的固化能力会随着时间的推移而下降,尤其是在夏季之后。不过,加入新的漆可以提高固化强度,将漆管放在冰箱里也能防止变质(我被告知没有不固化的漆)。无论如何,漆总会在足够的时间内固化,所以要从长远角度来看待它,享受金缮的过程。

Q6 What is the difference between synthetic adhesives and lacquer?
人造粘合剂与漆的区别是什么?

These days many people choose a style of kintsugi using synthetic adhesives, such as epoxy, which are easier to use and cure faster. There are a couple of ways to incorporate synthetic materials into kintsugi:
现在,许多人选择用合成粘合剂(如环氧树脂)来进行金缮,因为它们更易于操作且固化更快。在金缮中,合成材料的应用主要有两种方式:

(1) Gluing fragments with a synthetic glue or resin and finishing with gold-colored paint.
用合成胶或树脂将碎片粘合起来,然后用金色油漆进行最后的修饰。

(2) Using lacquer and precious metal powder for just the finishing steps.
(2) 只在最后一步用漆和贵金属粉末进行修饰。
Method (1) is effectively a shortcut and the kintsugi could be completed in a day. However, some synthetic adhesives are not food safe, which will need to be taken into consideration. Method (2) will result in a very durable repair; however, what if the lacquer is damaged or peels off after a while? The drawbacks of synthetic adhesives are that the very strength of the glue makes subsequent repairs difficult and the transparency is tricky to manage. Synthetic resin is essentially paint. Some people wonder if it’s wise to mend pottery meant for food with potentially toxic glue. If you decide to use a synthetic adhesive, consider an epoxy glue introduced on page 75.
(1)方法实际上是一种捷径,金缮可以在一天内完成。但是,一些合成粘合剂不适用于食品,这需要考虑。(2)方法将带来非常持久的修复;但是,如果漆器在一段时间后损坏或剥落怎么办?合成粘合剂的缺点是,胶水的强度使得后续修复变得困难,并且透明度难以控制。合成树脂本质上是油漆。有些人怀疑用潜在的有毒胶水修补餐具是否明智。如果您决定使用合成粘合剂,请考虑第 75 页介绍的环氧树脂胶水。

Then again, lacquer has its own shortcomings: some people have allergic reactions, curing takes a long time, it doesn’t work well with glass, etc. Synthetic adhesives may be the best solution for items made out of glass, and in any case, it’s important to weigh the pros and cons of the available materials for kintsugi. To clarify your choices, I recommend asking questions such as, “Is it safe for my child?” “How do I want to approach this precious piece of pottery?”
另一方面,大漆本身也存在一些弊端:有些人可能会产生过敏反应,固化所需时间过长,不适用于玻璃制品等等。对于玻璃制成的物品,合成粘合剂可能是最佳的解决方案,无论如何,权衡金缮可用材料的优劣至关重要。为了明确您的选择,我建议您提出以下问题:“这对我孩子安全吗?”“我希望如何处理这件珍贵的陶瓷器皿?”

Q7 What are different ways to enjoy kintsugi?
金継有哪些不同的享受方式?

Kintsugi is fundamentally a mending technique and can be applied to virtually anything that lacquer will adhere to. Try kintsugi with chopstick rests, accessories, knick knacks…there are plenty of options.
金缮作为一种修复技术,用途广泛,几乎可以应用于任何可以粘合漆器的物品。尝试将金缮应用于筷子垫、饰品、小摆件等物品上,可能性无限。

Q3 What should I do when I can't perform togi because the cured lacquer is too hard?
固化的漆面太硬,无法上色时,该怎么办?

It’s important to limit the curing time for kokuso-urushi to between one week and 10 days, and the curing time for sabi-urushi to a day. If the lacquer gets overcured, it’s nearly impossible to proceed with the kintsugi steps. But overcuring happens, and using a new, sharp blade should help.
生漆固化时间很重要,生漆需控制在 1 周到 10 天,而莳绘则需 1 天。若生漆固化过度,基本无法进行金缮。过度固化会发生,使用新的锋利刀片应该有所帮助。

Q9 I want to redo the kintsugi that I applied with synthetic glue.
我想要对用合成树脂胶进行修复的金缮进行重新修复。

Most adhesives will soften or melt in high heat, so try simmering the item in a pot of water for 1 to 2 hours. Sometimes the kintsugi will disintegrate. If not, that means that the glue is extra strong and if you try to forcibly pull apart the repaired area, another part may break or crack. Simply leave the glued section as is and redo the lacquer and finishing powder.
大多数胶粘剂在高温下会软化或融化,所以可以尝试将物品在锅中煮沸 1-2 小时。金缮可能会自行分解。如果没有分解,则说明胶水特别牢固,如果强行将修复区域拉开,可能会导致其他部分断裂或开裂。只需保持原样,重新进行漆面和抛光处理即可。

Q10 I accidentally got debris in the lacquer.
我无意间在漆面弄进了杂物。

Use a filter for lacquer (miyoshinogami) to strain the debris. You can filter the lacquer as many times as you need to.
使用宫殿纸的过滤器过滤残渣。您可以根据需要多次过滤漆器。

Q11 It's challenging to paint thin lacquer lines.
用薄漆绘制细线非常具有挑战性。

If the lacquer on the glass sheet is lumpy and hard, it will be difficult to apply it in smooth, delicate lines. Add a little bit of turpentine oil or camphor oil to dilute the lacquer. Both are plant-based solvents. Only add a very small amount of the oil (less than a rain drop, for example), because diluting the lacquer weakens it, resulting in a less durable finish.
如果玻璃上的漆面变得结块和坚硬,就很难用平滑、细腻的线条涂抹。可以加一些松节油或樟脑油来稀释漆。这两种都是植物油性溶剂。但要注意,只需加少量油(例如,少于一滴雨),因为稀释漆会使其变弱,从而降低饰面的耐久性。

Q12 Can I use gold leaf instead of kinpun/gold powder?
可以用金箔代替金粉吗?

There are some kintsugi techniques that use gold leaf, but compared to a kinpun/gold powder finish, gold leaf tends to have less density. Gold leaf is more suitable for wall surfaces or as decorative elements and tends to peel off easily. It may not be the best option for mending.
有一些金缮技术使用金箔,但与金粉饰面相比,金箔的密度通常较低。金箔更适合用于墙面或作为装饰元素,并且容易剥落。因此,它可能不是修补的最佳选择。

Q13 Are there other finishing options other than precious metal powders?
除贵金属粉末外,还有其他光洁处理选择吗?

There are a variety of lacquer finishes including black lacquer, white lacquer, red lacquer, and urumi-urushi. Once the nakanuri phase is done with your preferred lacquer, you can consider the project complete. Black lacquer is derived from kuroroiro-urushi and urumiurushi is a blend of black and red lacquer. Adjust the color to your liking.
各种类型的漆包括黑漆、白漆、红漆和 urumi-urushi。完成您首选漆的中涂阶段后,您可以认为项目完成了。黑漆源于 kuroroiro-urushi,而 urumiurushi 是黑漆和红漆的混合物。根据您的喜好调整颜色。

Q14 I was taught to clean brushes with nail polish remover or paint thinner, is that okay?
我以前学到可以用卸甲油或油漆稀释剂来清洁刷子,这可以吗?

I advise against it because they will damage the brushes. For the sake of the brushes and for your own health, I highly recommend using only vegetable oils. Because lacquer will naturally harden, after cleaning the brush hairs thoroughly, load the it with clean oil. Some people like to clean brushes with paint thinner or other potent cleansers to remove the oiliness before using it to paint, but I’ve found that wiping the brush hairs with a rag is sufficient.
我建议不要这样做,因为它们会损坏刷子。为了刷子和您自己的健康,我强烈建议只使用植物油。因为油漆会自然硬化,所以彻底清洁刷毛后,请用干净的油将其装满。有些人喜欢在用油漆之前用稀释剂或其他强力清洁剂清洁刷子以去除油性,但我发现用抹布擦拭刷毛就足够了。


Suppliers  供应商

Most of the suppliers below offer traditional kintsugi materials, such as urushi lacquer (including food-safe urushi), metal powders and more.
下面大多数供应商提供传统的金缮材料,如生漆(包括食品级生漆)和金属粉末等。

Amazon.com  亚马逊网站

Urushi, epoxy, stater kits, pigment powders, tools, kilns and other craft supplies www.amazon.com
全面的艺术和手工艺用品,包括乌鲁什、环氧树脂、入门工具包、颜料粉末、工具、窑等。

Shipping may vary according to Amazon merchant
根据您选择的亚马逊商家,商品的配送时间可能会有所不同。

Christianbonner  来自克里斯蒂安·邦纳

https://www.etsy.com/people/c2vx7mtm Urushi, epoxy, metallic powders
来自 etsy.com/people/c2vx7mtm 的漆器、环氧树脂和金属粉末

Ships from US  从美国运出

Goenne  果恩

https://www.etsy.com/shop/
GoenneJapan?ref=simple-shop-header-
去日本吗?

name&listing_id=1042903048
名称和房源 ID=1042903048

also sells independently at https://www.goenne. com/kintsugi
此外,还在 Goenne 网站上独立销售:https://www.goenne.com/kintsugi

Variety of tools, supplies and helpful information
各种各样的工具,用品和有用的信息

Ships from Japan  由日本发货

Hokoan  霍坎语系

https://www.etsy.com/shop/Hokoan?ref=simple-
shop-header-name&listing_id=712246261
商店标题名称及商品编号 712246261

Selected kintsugi tools and i supplies
精心挑选的金缮工具和材料

Ships from Japan  由日本发货

KintsugiJapan  金继日本

https://www.etsy.com/shop/
KintsugiJapan?ref=simple-shop-headername&listing_id=881660870
金継ぎ的日本

Kintsugi starter kits  日本传统金缮修复艺术入门套装
Ships from Japan  由日本发货

KintsugiLoo  修复破损陶瓷的传统日本工艺

https://www.etsy.com/shop/
KintsugiLoo?ref=simple-shop-headername&listing_id=1026485076
金缮炉?ref=simple-shop-headername&listing_id=1026485076

Epoxy-based kintsugi kits, metallic and colored pigment powders
用环氧树脂制成的金缮修复工具包,包含金属和彩色颜料粉末。

Ships from Poland  从波兰运来

KintsugiOxford  金缮牛津 (修复陶瓷的日本艺术)

https://www.etsy.com/shop/
KintsugiOxford?ref=simple-shop-headername&listing_id=803711659
金缮牛津?ref=simple-shop-headername&listing_id=803711659 的翻译

Urushi and starter kits
生漆和入门工具包

Ships from the UK
来自英国的船只

KintsugiShopArt

https://www.etsy.com/shop/
KintsugiShopArt?ref=profile_header
金继艺术品店?来源=页头

Selected urushi, brushes, powder
精选漆器、毛笔和粉末

Ships from France  从法国发货

KintsugiSupplies  金缮用品

https://www.etsy.com/shop/
KintsugiSupplies?ref=simple-shop-headername&listing_id=168027732
金缮用品?ref=simple-shop-headername&listing_id=168027732

Variety of kintsugi supplies and tools, information and demos
金缮所需的各种工具和材料,以及相关的讲解和演示

Also sells independently at https://www.kintugi. com/?post_type=product Ships from Japan
也可通过 https://www.kintugi.com/?post_type=product 独立购买。从日本发货。

wwwmejirojapancom  此网页已更改其名称。

https://www.etsy.com/shop/
wwwmejirojapancom?ref=simple-shop-headername&listing_id=278428758
优化翻译:此链接将引导您到 mejirojapan.com,其中包含一个简单商店标题名为“商品编号 278428758”

also sells independently at https://www.mejirojapan.com/
也在 https://www.mejirojapan.com/ 上独立销售。

Variety of kintsugi tools and supplies Ships from Japan
各式各样的金継工具和用品,从日本发货
Japanese Lacquer Store Watanabe Shoten https://www.urushi-watanabe.net/en/ Various lacquers used in kintsugi
用于金继的各种漆器

Ships from Japan  由日本发货

GENERAL ART AND CRAFT SUPPLIERS
一般工艺美术用品供应商

Michaels  迈克尔

Brushes, craft knives, tape and other craft supplies
毛笔、美工刀、胶带等其他工艺材料

www.michaels.com  迈克尔斯的网站是 www.michaels.com。
Ships from US  从美国运出

Blick  眼科

Pigment powders, brushes, craft knives, tape and other craft supplies
颜料粉末、画笔、雕刻刀、胶带和其他工艺用品

https://www.dickblick.com/ Ships from US
此商品从美国 https://www.dickblick.com/ 发货

Joann Fabrics and Crafts
简洁大方的乔安妮布艺和工艺品

https://www.joann.com/
Brushes, craft knives, tape and other craft
画笔、壁纸刀、胶带和其他手工用品

supplies  物资
Ships from US  从美国运出

KILN SUPPLIERS  窑炉供应商

Craftkilns  工艺窑是专门设计用于工艺陶瓷生产的窑炉。

https://www.etsy.com/shop/
Craftkilns?ref=profile_header
来自 Craftkiln 的信息,ref= 个人资料页面

Small kilns  小型烤炉
Ships from UK  从英国运出

Soul Ceramics  心灵陶瓷坊

https://www.soulceramics.com/collections/ ceramic-kilns
这里有各种各样的陶瓷窑出售,适合各种各样的陶瓷爱好者和专业人士。 无论您是刚开始接触陶瓷,还是经验丰富的专业人士,我们都能提供适合您需求的窑炉。

Kilns and other pottery apparatauses
窑炉和其他制陶设备

Ships from US  从美国运出

Conclusion  总结

As the quality of life increases, there has been a profusion of high quality pottery and of artists producing beautiful work. There has also been a proportional increase in the appreciation of kintsugi. In modern times, convenient adhesives are readily available and the process of kintsugi has been evolving and diversifying.
随着生活水平的提高,出现了大量高品质的陶器和创作精美作品的艺术家。金缮的欣赏也随之成比例地增加。在现代,方便的粘合剂随处可见,金缮的工艺也在不断发展和多样化。
Out of the many options available, the ultimate decision is up to you. No matter which techniques or materials are used, I believe that the most important considerations are, “Is it comfortable and safe?” and “Does this enrich my life?” As with all art forms, the methods and supplies have less to do with the results than the care and emotions infused into the projects. Kintsugi is not just about simple repairs, but is an expression of kindness and love. You can redo the repairs as many times as needed or as desired, so there is no such thing as failure with kintsugi. You just try, and try again. It is an apt metaphor for making dreams come true, and kintsugi teaches us the power of resilience.
从众多可选方案中,最终决定权在于您。无论使用什么技法或材料,我认为最重要的是“它舒适安全吗?”和“它能丰富我的生活吗?”与所有艺术形式一样,方法和材料与结果的关系远小于倾注于项目中的关怀和情感。金缮不仅仅是简单的修复,更是表达善意和爱意的体现。您可以根据需要或愿望多次重做修复,因此金缮没有失败一说。您只需尝试,再尝试。它是梦想成真的恰当隐喻,金缮教导我们坚韧的力量。
I hope that this book will open up the world of kintsugi to you and be a source of mending and enriching of your own life.
我希望这本书能为你打开金缮的世界,为你自己的生活带来修复和丰富。

-Michihiro Hori  翻译后更流畅、更通顺的中文简体翻译

Michihiro Hori  堀 道浩

Originally from Toyama prefecture. Michihiro Hori is a graduate of Takaoka National College and the Ishikawa Prefectural University Institute of Wajima Lacquer Studies. He is a master practitioner of Urushi (laquerware arts) as well as a manga artist and author. He is currently a member of the Department of Fine Art and Culture at Toyama University. Hori launched his manga career while working in a lacquer shop to deepen his knowledge and skills in lacquerware, and has been working in both art forms ever since. He leads the workshop “Kintsugi Club” in metropolitan areas of Japan as part of his mission to spread enthusiasm for practicing kintsugi at home.
来自日本富山县。堀 Michihiro 毕业于高冈国立大学和石川县立大学轮岛漆艺研究所。他是漆艺大师,也是漫画家和作家。他目前是富山大学美术文化系成员。堀在漆器店工作时开始了他的漫画生涯,以加深他对漆艺的知识和技能,从此一直从事这两种艺术形式。他领导着“金缮俱乐部”工作室,在日本各大城市开展金缮练习,以传播他对金缮的热爱。

"Books to Span the East and West"
能够涵盖东西方思想的书籍

Tuttle Publishing was founded in 1832 in the small New England town of Rutland, Vermont (USA). Our core values remain as strong today as they were then-to publish best-in-class books which bring people together one page at a time. In 1948, we established a publishing office in Japan-and Tuttle is now a leader in publishing English-language books about the arts, languages and cultures of Asia. The world has become a much smaller place today and Asia’s economic and cultural influence has grown. Yet the need for meaningful dialogue and information about this diverse region has never been greater. Over the past seven decades, Tuttle has published thousands of books on subjects ranging from martial arts and paper crafts to language learning and literature-and our talented authors, illustrators, designers and photographers have won many prestigious awards. We welcome you to explore the wealth of information available on Asia at www.tuttlepublishing.com.
图特尔出版公司成立于 1832 年,位于美国新英格兰地区佛蒙特州的罗特兰镇。我们至今仍然秉承着最初的核心理念——出版一流的书籍,让读者在阅读中建立联系。1948 年,我们在日本建立了出版办公室,如今图特尔已成为出版有关亚洲艺术、语言和文化的英文书籍的领导者。如今,世界已经变得越来越小,亚洲的经济和文化影响力不断增长。然而,对于这个多元化地区的意义对话和信息的需求却从未如此之大。 在过去 70 年中,Tuttle 出版了数千本关于武术、纸艺、语言学习和文学等主题的书籍,我们才华横溢的作者、插画家、设计师和摄影师赢得了许多声誉卓著的奖项。我们欢迎您访问 www.tuttlepublishing.com,探索亚洲丰富的相关信息。
Published by Tuttle Publishing, an imprint of Periplus Editions (HK) Ltd.
由 Tuttle 出版社(Periplus Editions(香港)有限公司旗下的品牌)出版。

www.tuttlepublishing.com
来源是 www.tuttlepublishing.com

OUCHI DE DEKIRU OORAKA KINTSUGI
居家金缮艺术

Copyright © 2018 Michihiro Hori
版权所有 © 2018 年 Michihiro Hori

English translation rights arranged with Jitsugyo no Nihon Sha, Ltd. through Japan UNI Agency, Inc. Tokyo English Translation © 2022 by Periplus Editions (HK) Ltd. Translated from Japanese by Sanae Ishida
由日本实业之日本社与日本优尼机构株式会社合作安排的英文翻译版权。东京英文翻译 © 2022 年 Periplus Editions (HK) Ltd. 由 Sanae Ishida 翻译成日文
ISBN 978-4-8053-1674-0; ISBN 978-1-4629-2292-5 (Ebook) Library of Congress Cataloging in process
ISBN 978-4-8053-1674-0;ISBN 978-1-4629-2292-5(电子书),美国国会图书馆编目正在进行中。
All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior written permission from the publisher.
本出版物受版权保护。未经出版者事先书面许可,任何形式的复制或使用均被禁止,包括电子或机械复制、影印、录音或任何信息存储和检索系统。

Staff(Original Japanese edition)
职员(日语原版)

Project creation assistance Chiharu Okahara, Maki Kawauchi, Mieko Sasaki
项目创建协助: 千春冈原、牧佳川内、三枝佐佐木

Photography Hiroko Fukui
广井弘子摄影作品

Cover and page design Motoko Kitsukawa
封面和页面设计由 Motoko Kitsukawa 完成

Tracing Handcraft division, Wade Co. (Kazuyuki Seki, Shizuo Harada, Hiroko Tamura)
韦德公司手工制作部门(关一幸、原田静夫、田村弘子)

Editor Yoshimi Okawara  吉美冈川编辑
Publisher Yuichi Ogawa  来源:小川裕一先生
Author Michihiro Hori  精炼翻译:作者: 堀道
Publisher Yuichi Iwano  来自发行商岩野雄一
Illustrations Michihiro Hori
穗利插图

Photography Shizuka Suzuki
摄影 苏静香

Design Akiko Shiba (Bunkyozuanshitsu)
由芝原赤子(文京図案室)设计

Support Hiroyuki Ebita, Hiromi Kobayashi, Tomomi Fukazawa, Nishimaki City Café R, Re:gendo, Aya Tsuyuki
支持 Ebita Hiroyuki、Kobayashi Hiromi、Fukazawa Tomomi、Nishimaki City Café R、Re:gendo、Tsuyuki Aya

Editor Asami Sugiyama  责任编辑杉山麻美
Distributed by  由...负责发行
North America, Latin America & Europe
北美、中南美和欧洲

Tuttle Publishing  全球出版公司
364 Innovation Drive, North Clarendon
北克拉伦登,364 创新大道

VT 05759-9436 U.S.A.  美国
Tel: 1 (802) 773-8930
您的电话号码是 1(802)773-8930。

Fax: 1 (802) 773-6993
传真:1 (802) 773-6993

info@tuttlepublishing.com
www.tuttlepublishing.com

Asia Pacific  亚太地区(简体中文)

Berkeley Books Pte. Ltd.  伯克利图书有限公司。
3 Kallang Sector, #04-01, Singapore 349278
新加坡,349278,加冷路 3 号,#04-01

Tel: (65) 67412178  精炼翻译: 电话号码:(65) 67412178
Fax: (65) 67412179  传真号码:(65) 67412179
inquiries@periplus.com.sg
www.tuttlepublishing.com

Japan  日本

Tuttle Publishing  图特尔出版
Yaekari Building 3rd Floor
雅格力大厦三楼

5-4-12 Osaki  大阪市大崎 5-4-12
Shinagawa-ku  品川区
Tokyo 141-0032  东京 141-0032
Tel: (81) 3 5437-0171
电话: (81) 3 5437-0171

Fax: (81) 3 5437-0755
传真: (81) 3-5437-0755

sales@tuttle.co.jp
www.tuttle.co.jp
Printed in China 2112EP
中国制造 2112EP -

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TUTTLE PUBLISHING ^(***){ }^{\star} is a registered trademark of Tuttle Publishing, a division of Periplus Editions (HK) Ltd.
图特尔出版是图特尔出版有限公司的注册商标,图特尔出版有限公司是远东出版集团(香港)有限公司的一部分。

Michihiro Hori is a graduate of Takaoka National College and the Ishikawa Prefectural University Institute of Wajima Lacquer Studies. He is a master practitioner of Urushi (laquerware arts) as well as a manga artist and author. He is currently a member of the Department of Fine Art and Culture at Toyama University. Hori launched his manga career while working in a lacquer shop to deepen his knowledge and skills in lacquerware, and has been working in both art forms ever since. He heads up the “Kintsugi Club” workshop in various cities in Japan as part of his mission to spread enthusiasm for practicing kintsugi at home.
毕业于高冈国立学院和石川县立大学轮岛漆艺研究所的堀道弘是一位莳绘(漆艺)大师,也是一名漫画家和作家。他目前是富山大学艺术文化系的教员。堀道弘曾在一家漆器店工作,以加深他对漆艺的了解和技能,并从那时起从事这两种艺术形式。作为其传播在家练习金缮的热情的使命的一部分,他领导了日本各个城市的“金缮俱乐部”工作室。
Also available from Tuttle Publishing
由 Tuttle 出版社出版

ISBN: 9780804854115 ,  ISBN: 9780804854115
ISBN: 9784805316481  ISBN 编号:9784805316481
ISBN: 9780804851046  国际标准书号: 9780804851046
SBN: 9784805315545  ISBN 编号:9784805315545

TUTTLE  塔特尔

www.tuttlepublishing.com