Patchwork & Mending as Art in Japan: Wabi-Sabi, Kintsugi, & Sashiko

A lot of classic Western aesthetics seem to focus on perfection and the hiding of any natural imperfection behind a mask—ladies in magazines are airbrushed beyond recognition, and art restoration is as subtle and camouflaged as possible.  When restoring a painting, sculpture, or textile, the colors used are neutral or are matched as closely as possible to the artist’s original color palette.  In contrast, the Japanese techniques of “Kintsugi” and “Sashiko” place the damaged areas front and center, turning the repair from a “flaw” into a “feature.”

WABI-SABI

I always though that the Japanese aesthetic of “Wabi-Sabi” was an interesting contrast to the modern, sleek, perfect Japanese visuals that most of us see and think of as quintessentially “Japanese.”  “Wabi-Sabi” looks at the beauty and significance in imperfection, irregularity, or impermanence.  “Wabi” refers to the loneliness and simplicity of living in nature, while “sabi” refers to the withered or rusted, and the beauty and peace that come from age.  Together, they draw the eye to the simple, quiet, understated qualities of life, aging, and impermanence.  In wabi-sabi, an artist is understood to be limited by materials and technology, and general wear and tear are accepted as a natural result of life and function.  Any evidence of that erosion, or repairs to that damage, are highlighted as a focal point of beauty or meditation.  As an example, prized cups for tea ceremonies, while skillfully-made, are often more rough-looking, and may be deliberately chipped.  These mugs are also painted with glazes that by nature change color with repeated exposure to hot water.

I feel that this aesthetic of wabi-sabi is directly related to the gorgeous practices of Kintsugi and Sashiko.

KINTSUGI

Practiced since the 15^th century, “Kintsugi” (“Golden Joinery”), or “Kintsukuroi” (“Golden Repair”), was a popular Japanese artistic technique that was used to repair valuable china.  A lacquer resin would be mixed with a powdered precious metal like silver, gold, or platinum.  This metallic mixture would then be used to fill in and re-join the ceramic shards of the broken piece.  If a large shard were missing, the area could be filled in with the gold lacquer or a shard from a completely different piece (the ceramic equivalent of a patch).  The resulting piece would be a newly-functional bowl or cup with gleaming seams of gold or silver radiating through it.

The effect was so beautiful that kintsugi pieces were used in tea ceremonies and were collected as works of art—some ceramic collectors were accused of deliberately smashing their ceramics in order to increase their collections!

SASHIKO

Sashiko is a textile technique that developed around the 17^th century in the Japanese working class.  Patchwork was used to repair, strengthen, and insulate clothing, and the use of contrasting threads and fabrics created a strong visual effect.  Potential brides were judged on their sashiko abilities, and firemen wore wet, sashiko-quilted robes for protection when fighting fires. 

Many fabrics and colors are used in sashiko embroidery now, but the classic look was usually of a white thread outlining a dark blue, indigo-dyed patch--indigo at the time was a readily available, long-lasting dye, and was used as a repellant.  A running stitch was used to create the bright, dotted lines around the edges of the patches, as well as the embroidered designs featured on some patches.  Sashiko is most associated now with white-on-blue embroidery that features flowers, animals, and beautiful geometric patterns, but red thread was also occasionally used for some traditional ceremonial pieces.

For some lovely examples of Kintsugi and Sashiko, check out these great google images.