{"id":27258,"date":"2020-06-04T16:51:22","date_gmt":"2020-06-04T15:51:22","guid":{"rendered":"https:\/\/www.insidejapantours.com\/blog\/?p=27258"},"modified":"2020-06-12T20:01:27","modified_gmt":"2020-06-12T19:01:27","slug":"an-interview-with-a-kintsugi-urushi-master","status":"publish","type":"post","link":"https:\/\/www.insidejapantours.com\/blog\/2020\/06\/04\/an-interview-with-a-kintsugi-urushi-master\/","title":{"rendered":"An Interview with a Kintsugi &#038; Urushi Master"},"content":{"rendered":"<h4>Like this post? Help us by sharing it!<\/h4><ul class=\"wpfai-list\"><li class=\"wpfai-list-item facebook\">\r\n      <a href=\"http:\/\/www.facebook.com\/sharer.php?u=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258&amp;t=\" title=\"Facebook\" class=\"wpfai-facebook wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-facebook fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><li class=\"wpfai-list-item twitter\">\r\n      <a href=\"http:\/\/twitter.com\/share?text=&amp;url=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258\" title=\"Twitter\" class=\"wpfai-twitter wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-twitter fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><li class=\"wpfai-list-item pinterest\">\r\n      <a href=\"http:\/\/pinterest.com\/pin\/create\/button\/?url=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258&amp;description=&amp;media=\" title=\"Pinterest\" class=\"wpfai-pinterest wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-pinterest fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><li class=\"wpfai-list-item linkedin\">\r\n      <a href=\"http:\/\/linkedin.com\/shareArticle?mini=true&amp;url=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258&amp;title=\" title=\"Linked In\" class=\"wpfai-linkedin wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-linkedin fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><li class=\"wpfai-list-item envelope\">\r\n      <a href=\"mailto:?subject=&amp;body=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258%20-%20\" title=\"E-Mail\" class=\"wpfai-envelope wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-envelope fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><li class=\"wpfai-list-item stumbleupon\">\r\n      <a href=\"http:\/\/www.stumbleupon.com\/submit?url=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258\" title=\"Stumble Upon\" class=\"wpfai-stumbleupon wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-stumbleupon fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><li class=\"wpfai-list-item reddit\">\r\n      <a href=\"http:\/\/www.reddit.com\/submit?url=http%3A%2F%2Fwww.insidejapantours.com%2Fblog%2Fwp-json%2Fwp%2Fv2%2Fposts%2F27258\" title=\"Reddit\" class=\"wpfai-reddit wpfai-link wpfainw\">\r\n        <span class=\"fa-stack fa-lg\">\r\n          <i class=\"fa fa-square fa-stack-2x\"><\/i>\r\n          <i class=\"fa fa-reddit fa-stack-1x fa-inverse\"><\/i>\r\n        <\/span>\r\n      <\/a>\r\n    <\/li><\/ul><p><strong><em>Lisa Nilsson&#8217;s interview with Kyoto-based <\/em>kintsugi <em>and <\/em>urushi <em>master Mio Heki was originally published in <\/em>Kyoto Journal<em> in August 2018. This is an edited version of the full interview which can be found in <\/em><a href=\"https:\/\/kyotojournal.org\/creative-kyoto\/mio-heki-kintsugi-artist-and-urushi-master\/\" target=\"_blank\" rel=\"noopener noreferrer\">Kyoto Journal<\/a><em>.\u00a0<\/em><\/strong><\/p>\n<hr \/>\n<p>With our modern and wasteful way of living it may be hard to imagine that the imperfection of something that is broken can add both value and beauty to our existence. However, in the ancient Japanese handicraft of kintsugi (\u91d1\u7d99\u304e), broken ceramics are respected, healed and highlighted with gold or silver, adding yet another chapter to their history.<\/p>\n<p>\u201cMany cups become broken in two, but the material and the feeling of each of them is always different. I really enjoy the puzzle of fitting shattered parts together. It is a very special feeling, almost like the care and tenderness you give to your child,\u201d says the internationally-acclaimed <em>kintsugi<\/em> artist and <em>urushi<\/em> master Mio Heki, whilst sorting out her wooden tools, preparing for a new day at her picturesque studio.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter wp-image-27276 size-full\" src=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ1.jpg\" alt=\"Mio Heki interview - Kyoto Journal\" width=\"627\" height=\"420\" srcset=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ1.jpg 627w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ1-300x201.jpg 300w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ1-564x378.jpg 564w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ1-390x261.jpg 390w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ1-510x342.jpg 510w\" sizes=\"auto, (max-width: 627px) 100vw, 627px\" \/><\/p>\n<p>It was not until Heki graduated from university with a degree in arts that she fell in love with <em>urushi<\/em>.<\/p>\n<p>\u201cI believe that <em>urushi<\/em> is magical. I\u2019m very attracted to its history and power. Archeologists have found objects made with <em>urushi<\/em> lacquer that date back more than 9,000 years. It is such a strong material and all natural. Urushi trees grow all over Asia but the lacquer technique differs, naturally because of our different cultures but also depending on the soil and climate that the tree grows in. I find the Japanese art of lacquer to be absolutely exquisite. I think it has to do with the Japanese soul.\u201d<\/p>\n<figure id=\"attachment_27273\" aria-describedby=\"caption-attachment-27273\" style=\"width: 623px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-27273 size-full\" src=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ2.jpg\" alt=\"Mio Heki interview - Kyoto Journal\" width=\"623\" height=\"416\" srcset=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ2.jpg 623w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ2-300x200.jpg 300w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ2-564x377.jpg 564w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ2-390x260.jpg 390w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ2-510x341.jpg 510w\" sizes=\"auto, (max-width: 623px) 100vw, 623px\" \/><figcaption id=\"caption-attachment-27273\" class=\"wp-caption-text\">Kintsugi and urushi shokunin Mio Heki at work in her studio. Photo by Lisa Nilsson.<\/figcaption><\/figure>\n<p>Throughout the world the tall lacquer tree, <em>Toxicodendron vernicifluum<\/em>, is known by many names. In Japan the word <em>urushi<\/em> (\u6f06) is used both for the lacquer tree itself and for the milky white sap it produces. One tree yields only about 200 grams of <em>urushi<\/em> during its whole lifespan. When used as glue, it takes about two weeks for <em>urushi<\/em> to dry.<\/p>\n<p>\u201cTiming is very important in <em>kintsugi<\/em> handicraft. I\u2019m very focused when I\u2019m working. Sometimes I can really connect to the piece that I\u2019m repairing. It\u2018s like I\u2019m having a conversation with the object through which I get to know both the owner and the piece. It makes me truly happy that I can help create new life stories through my handicraft,\u201d she says, leaning in over a broken cup, her long hair falling forward to enclose the broken pieces in front of her.<\/p>\n<figure id=\"attachment_27270\" aria-describedby=\"caption-attachment-27270\" style=\"width: 630px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-27270 size-full\" src=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ3.jpg\" alt=\"Mio Heki interview - Kyoto Journal\" width=\"630\" height=\"418\" srcset=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ3.jpg 630w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ3-300x199.jpg 300w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ3-564x374.jpg 564w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ3-390x259.jpg 390w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ3-510x338.jpg 510w\" sizes=\"auto, (max-width: 630px) 100vw, 630px\" \/><figcaption id=\"caption-attachment-27270\" class=\"wp-caption-text\">Attention to detail is the essence of the shokunin spirit. Photo by Lisa Nilsson.<\/figcaption><\/figure>\n<p>Familiar fragrances surround Heki\u2019s work table, a mixture of sweet scents and sharp odours. With trained hands and swift movements Heki mixes <em>urushi<\/em> and soil, kneading the paste on a glass tablet using a wooden spatula. The soil is collected from the Yamashina area in Kyoto and later ground into a fine powder. Using local soil is traditional amongst kintsugi artists in Kyoto, where the ground is known to be so rich that it serves as a raw material for abrasive powder, attracting craftspeople from all over Japan. Heki then uses the well-worked paste as a base to fill the holes and fractures of damaged pieces.<\/p>\n<p>\u201cSee, the colour is already changing! It\u2019s turning darker, because the lacquer absorbs the oxygen and the moisture in the air, making the surface harden almost instantly. The material is alive, containing enzymes. One of the most important things during the work process is that the surface along the rift always has to be kept smooth. So after applying urushi or paint I have to carefully abrade each layer of it. I use all kinds of tools for abrading, like this sea bream tooth or this agate stone.\u201d<\/p>\n<figure id=\"attachment_27267\" aria-describedby=\"caption-attachment-27267\" style=\"width: 626px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-27267 size-full\" src=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ4.jpg\" alt=\"\" width=\"626\" height=\"415\" srcset=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ4.jpg 626w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ4-300x199.jpg 300w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ4-564x374.jpg 564w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ4-390x259.jpg 390w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ4-510x338.jpg 510w\" sizes=\"auto, (max-width: 626px) 100vw, 626px\" \/><figcaption id=\"caption-attachment-27267\" class=\"wp-caption-text\">Shokunin Heki works with homemade tools. Photo by Lisa Nilsson.<\/figcaption><\/figure>\n<p>As a craftsperson, Heki only uses natural components. She has made all of her wooden spatulas herself, not because tool making is almost an extinct profession these days, but because she truly enjoys customizing her own tools and making the most of what material she has. If one of her spatulas breaks she always tries to make a new one using what is left, which means that there are spatulas in all sizes neatly organized in her own handmade toolstands. With profound knowledge she explains the difference between their quality and uses. The ones made out of Japanese cypress are more flexible than the more solid bamboo spatulas used when repairing bigger objects. Heki believes that all traditional creations have to work very closely together with nature to be able to find their true soul.<\/p>\n<p>\u201cAll my best brushes are made from rat hair. You can actually tell if the rat used to live on board a wooden ship or a steel ship from the quality of the hair in the brush. In the old days there used to be a lot of rats living in and around Lake Biwa, but most of them are gone now. The most essential part is the top of the hair and it is more rough and cut if the rat lived on a steel ship. It is important to keep the hair pointy and long to be able to draw beautiful lines with this very sticky lacquer. When I paint over a bigger area I use a stronger brush made out of black human hair. A good brush lasts for years and can help to produce a lot of great work.\u201d<\/p>\n<figure id=\"attachment_27264\" aria-describedby=\"caption-attachment-27264\" style=\"width: 632px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-27264 size-full\" src=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ5.jpg\" alt=\"Mio Heki interview - Kyoto Journal\" width=\"632\" height=\"418\" srcset=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ5.jpg 632w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ5-300x198.jpg 300w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ5-564x373.jpg 564w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ5-390x258.jpg 390w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ5-510x337.jpg 510w\" sizes=\"auto, (max-width: 632px) 100vw, 632px\" \/><figcaption id=\"caption-attachment-27264\" class=\"wp-caption-text\">Kintsugi weaves together elements of Japanese philosophy. Photo by Lisa Nilsson.<\/figcaption><\/figure>\n<p>The art of <em>kintsugi<\/em> is not only assembling pieces of a broken history but also weaves together several Japanese philosophies, all enhancing the unique value of imperfection. <em>Kintsugi<\/em> holds the Japanese feeling of <em>mottainai<\/em> (\u52ff\u4f53\u7121\u3044), an expression that is directly connected to the Buddhist concept of remorse over wasted and misused resources. And there are strong elements of the aesthetic mindset of <em>wabi-sabi<\/em>\u2014a philosophy that is at peace with the natural progression of life, by accepting the beauty of change and impermanent.<\/p>\n<p>\u201cMost <em>kintsugi<\/em> artists don\u2019t want to work with broken glass. It\u2018s a difficult material to repair. The surface of glass is more sensitive than ceramics which makes it harder both to polish and to assemble. But I like the challenge. I only use pure lacquer as glue when putting glass pieces together, never any colour or rice cake powder because it makes the paste thicker and therefore more demanding to work with,\u201d says Heki, pointing at a what seems to be a hopeless pile of glass splinters, something that used to be flower vase, bought originally by a client at a marketplace in Bulgaria.<\/p>\n<figure id=\"attachment_27261\" aria-describedby=\"caption-attachment-27261\" style=\"width: 625px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-27261 size-full\" src=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ6.jpg\" alt=\"Mio Heki interview - Kyoto Journal\" width=\"625\" height=\"422\" srcset=\"https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ6.jpg 625w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ6-300x203.jpg 300w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ6-564x381.jpg 564w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ6-390x263.jpg 390w, https:\/\/insidejapan.ams3.cdn.digitaloceanspaces.com\/blog\/wp-content\/uploads\/2020\/06\/KJ6-510x344.jpg 510w\" sizes=\"auto, (max-width: 625px) 100vw, 625px\" \/><figcaption id=\"caption-attachment-27261\" class=\"wp-caption-text\">A sampling of Heki&#8217;s specialised tools. Photo by Lisa Nilsson.<\/figcaption><\/figure>\n<p>\u201cIt is not easy to be a full time artist but I find the craftsmanship of <em>kintsugi<\/em> too interesting to let it go and it is also crucial to keep our traditional handicrafts alive. Today, a lot of people don\u2019t even know what <em>urushi<\/em> is. Japanese people easily forget about our precious culture and the younger generations are not interested in preserving ancient crafts. Therefore I find it important to share my knowledge and thoughts. I arrange workshops both at my studio and at my house and every now and then I teach <em>kintsugi<\/em> classes in Europe. By helping to spread the word to the rest of the world, the information might travel back to Japan and catch people\u2019s interest again,\u201d she laughs.\u2013 \u201cWe all have the spirit of our ancestors in our heart. We just have to let it out, use it and nurse it so it grows and develops together with us.\u201d<\/p>\n<p>Legend has it that the traditional technique of <em>kintsugi<\/em> handicraft was developed around the 15th century as a way to please the shogun Ashikaga Yoshimasa, after he had broken his favorite tea bowl. Yoshimasa sent the bowl all the way to China but was not very pleased with the result when he got it back, all stitched up with metal staples. Japanese craftsmen then tried to find a more aesthetic method to repair the cup. By stuffing the cracks with gold they transformed it into a piece of treasure. <em>Kintsugi<\/em> literally translates as golden (\u201ckin\u201d) repair (\u201ctsugi\u201d).<\/p>\n<p>\u201cYou could say that the art of <em>kintsugi<\/em> has evolved alongside the tea ceremony culture in Japan. In that era everyone embraced the tea ceremony and the people in power saw the tea ceremony as an occasion to gather and a platform to talk about politics. It wasn\u2019t unusual that leaders at the time would give away a special tea bowl as an honourable gesture, instead of giving away a castle or some land. A teacup was valued just as highly, so naturally people wanted to repair their gift if it got broken.<\/p>\n<p>Heki not only knows how to repair a broken tea bowl in the most beautiful way, she has also mastered the way of serving tea, holding a sado tea ceremony licence. But her artistic creativity does not stop there. In her spare time, Heki uses her <em>urushi<\/em> skills to design both ornaments and costumes used in various stage performances, and on top of that she keeps herself busy with her own jewellery brand. Inspired by nature Heki forms her jewelry items from silver, stones or great green turban shells, combining several traditional <em>urushi<\/em> techniques like <em>kintsugi<\/em> and <em>makie<\/em>. She decorates her gems using thin layers of shaded <em>urushi<\/em> lacquer, egg shells and gold dust.<\/p>\n<p>\u201cI see <em>urushi<\/em> as a way to connect ourselves and our culture with nature in so many ways. Because <em>urushi<\/em> and <em>kintsugi<\/em> art is all natural, it is a good way to remind ourselves that we are all part of nature, being pieces of our universe. That awareness is something that I would really like to pass on to the generations to come, and it\u2019s something that will keep me going as an artist for the rest of my life.\u201d<\/p>\n<hr \/>\n<p><strong><em>Visit <a href=\"https:\/\/kyotojournal.org\/creative-kyoto\/mio-heki-kintsugi-artist-and-urushi-master\/\" target=\"_blank\" rel=\"noopener noreferrer\">Kyoto Journal<\/a> for the full article by Lisa Nilsson, as well as other insightful stories about Japan and Asia. InsideJapan Tours blog readers can receive a 15% discount when ordering a copy of the issue by using the code IJTOFFER at <a href=\"https:\/\/kyotojournal.org\/product-category\/issues\/\" target=\"_blank\" rel=\"noopener noreferrer\">Kyoto Journal.<\/a><\/em><\/strong><\/p>\n<h4>Like this post? 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Help us by sharing it! Lisa Nilsson&#8217;s interview with Kyoto-based kintsugi and urushi master Mio Heki was originally published in Kyoto Journal in August 2018. This is an edited version of the full interview which can be found in Kyoto Journal.\u00a0 With our modern and wasteful way of living it may be [&hellip;]<\/p>\n","protected":false},"author":65,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_sitemap_exclude":false,"_sitemap_priority":"","_sitemap_frequency":"","footnotes":""},"categories":[2525],"tags":[4554,4581,4599,4602,4605,4608,4611],"class_list":["post-27258","post","type-post","status-publish","format-standard","hentry","category-japanese-arts-and-entertainment","tag-kyoto-journal","tag-craftsmans-spirit","tag-kintsugi","tag-wabisabi","tag-urushi","tag-mio-heki","tag-kyoto-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/posts\/27258","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/users\/65"}],"replies":[{"embeddable":true,"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/comments?post=27258"}],"version-history":[{"count":5,"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/posts\/27258\/revisions"}],"predecessor-version":[{"id":27282,"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/posts\/27258\/revisions\/27282"}],"wp:attachment":[{"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/media?parent=27258"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/categories?post=27258"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.insidejapantours.com\/blog\/wp-json\/wp\/v2\/tags?post=27258"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}