Kintsugi (金継ぎ?) (Japanese: golden joinery) or Kintsukuroi (金繕い?) (Japanese: golden repair) is the Japanese art of fixing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum, a method similar to the maki-e technique. As a philosophy it treats breakage and repair as part of the history of an object, rather than something to disguise.h/t - Jen
Lacquerware is a longstanding tradition in Japan, at some point it may have been combined with maki-e as a replacement for other ceramic repair techniques. One theory is kintsugi may have originated when Japanese shogun Ashikaga Yoshimasa sent a damaged Chinese tea bowl back to China for repairs in the late 15th century. When it was returned, repaired with ugly metal staples, it may have prompted Japanese craftsmen to look for a more aesthetic means of repair. Collectors became so enamored with the new art that some were accused of deliberately smashing valuable pottery so it could be repaired with the gold seams of kintsugi. Kintsugi became closely associated with ceramic vessels used for chanoyu (Japanese tea ceremony). While the process is associated with Japanese craftsmen the technique was applied to ceramic pieces of other origins including China, Vietnam, and Korea.
As a philosophy kintsugi can been seen to have similarities to the Japanese philosophy of wabi-sabi, an embracing of the flawed or imperfect. Japanese æsthetics values marks of wear by the use of an object. This can be seen as a rationale for keeping an object around even after it has broken and as a justification of kintsugi itself, highlighting the cracks and repairs as simply an event in the life of an object rather than allowing its service to end at the time of its damage or breakage.
Kintsugi can relate to the Japanese philosophy of "no mind" (無心 mushin?) which encompasses the concepts of non-attachment, acceptance of change and fate as aspects of human life."Not only is there no attempt to hide the damage, but the repair is literally illuminated... a kind of physical expression of the spirit of mushin....Mushin is often literally translated as “no mind,” but carries connotations of fully existing within the moment, of non-attachment, of equanimity amid changing conditions. ...The vicissitudes of existence over time, to which all humans are susceptible, could not be clearer than in the breaks, the knocks, and the shattering to which ceramic ware too is subject. This poignancy or aesthetic of existence has been known in Japan as mono no aware, a compassionate sensitivity, or perhaps identiﬁcation with, [things] outside oneself. ”—Christy Bartlett, Flickwerk The Aesthetics of Mended Japanese Ceramics