- 2 days ago
Japan’s Master of Restoration episode 1
Category
🦄
CreativityTranscript
00:00There's a man who can supposedly fix any piece of pottery, no matter how broken it is.
00:17A shattered bowl.
00:21But in his hands, it's whole again.
00:25Even if it's good enough, it's a different one.
00:31His job is completely the top of the field.
00:35He's able to show his beautiful姿.
00:49His materials and methods are all his own.
00:53The work began underground in the aftermath of World War II.
00:56The work began underground in the aftermath of World War II.
01:29I don't have to say anything.
01:31I don't have to say anything.
01:37This is the first time he's allowed his techniques to be filmed.
01:41They call him the God Hand.
01:48And his is a story that began in the shadows.
01:53I don't have to say anything.
01:54It's the only one in the shadows.
01:57It's been a long time since I've been here.
02:26That's what I've worked with, then I've taken a job.
02:35I've seen that for a long time.
02:38I mean, it was probably $5,000,000.
02:40I mean, $5,000,000, $4,000,000.
02:42It's still a number of thousands of students.
02:47It's still a number of thousands of students.
02:51Well, it's a good place.
02:53Well, it's a good place.
02:55It's a good place.
03:21This is Fujito Kiyoshi, their client.
03:37He runs the Fujito Art Museum, home to nine Japanese national treasures.
03:44And this is the advisor, Sensooku, heir to the Mushokoji Senke School of the Japanese
03:51tea ceremony.
04:01The job concerns an artifact that has been slumbering in the museum's storehouse.
04:06Ah, it's wonderful.
04:11This celadon flower vase was created around 800 years ago in China.
04:18This celadon flower vase was created around 800 years ago in China.
04:24This celadon flower vase was created around 800 years ago in China.
04:36Oh, there's a lot of people in China.
04:38Oh, there's no doubt.
04:41It's not true.
04:42It's the same as the old spirit.
04:45Here is the same as the ancient temple.
04:48The ancient temple is called the crown of the king.
04:52It's called the crown of the king and the king.
04:56It's called the crown of the king.
04:59It's written here.
05:01It's called the Tzreya Kokuhoi, right?
05:04Yes, right.
05:06If it's not a problem, it's the best part of the project.
05:12Yes.
05:14Undamaged, it would rub shoulders with a national treasure.
05:19But it's called the Ho-Ou-Mimi.
05:22It's a little different from the Ho-Ou-Mimi.
05:26The Ho-Ou-Mimi is conspicuously missing from the vase.
05:39They're tasked with one other work.
05:45This is a great bag.
05:51This is the Tzreya Kokuhoi.
05:55If you don't say it, it's a Tzreya Kokuhoi.
05:59If you don't say it, it's a Tzreya Kokuhoi.
06:02In the realm of the Japanese tea ceremony, Totoya Chawan tea bowls are revered.
06:10They were particularly beloved by Sen no Rikyu, who influenced the Japanese tea ceremony more than any other person.
06:20The name Totoya comes from a fish wholesaler associated with the tea master.
06:30Sen Tzreya Kokuhoi is a descendant of Sen no Rikyu himself.
06:38This is a point.
06:40It's called the Ho-Ou-Mimi.
06:42It's called the Ho-Ou-Mimi.
06:44The Ho-Ou-Mimi.
06:47It has been taken years and has been extended to it.
06:51It is very long since it's been made.
06:53This is a series of tea and has been restored.
06:55It's been kept in the history of the Ho-Ou-Mimi.
07:00I think it's a good feeling.
07:02So I think it's a good feeling.
07:08That's the balance.
07:30Time for another look at the piece.
07:58The broken sections have been mended with gold, a process known as kintsugi.
08:04It shows that this piece has been passed down through the ages with care.
08:14The details also show traces of repair.
08:25The bottom was broken as well, its gaps filled in with lacquer.
08:30It's covered in old wounds.
08:34Back to the Totoya Chawan.
08:41Its broken fragments have been coated over with lacquer.
08:48The large golden kintsugi triangle leaps out.
08:54Using this will prove particularly challenging.
09:13First, the gold is scraped away.
09:20The gold is broken.
09:27The gold is broken.
09:33I can't see the difference between the gold and the gold.
09:38Mayuyama's son, Yu, has been doing this professionally for a decade.
09:59The removed material is a mixture of lacquer and stone powder
10:04used for filling in missing sections.
10:08The last one is a mixture of lacquer.
10:13The only one is the most important part of the lacquer.
10:18Yu, is there a lot of lacquer?
10:22Yes, but the amount of lacquer is covered.
10:27If you're looking at it, you can see the lacquer.
10:31I've seen it in the middle of the lacquer.
10:36All of the gold has been removed.
10:56The piece is then submerged in a releasing agent to dissolve any remaining lacquer.
11:06I have to put it in one week for a while.
11:20A battle with the Kintsugi Triangle is underway.
11:24Apply force carelessly, and the tea bowl could end up in pieces once more.
11:31Apply force carelessly, and the tea bowl could end up in pieces once more.
11:45Well, it does not matter.
11:49Apply force carelessly, and the tea bowl could end up in pieces once more.
11:55.
12:07.
12:14.
12:19.
12:21.
12:23.
12:25.
12:25The stubborn lacquer refuses to come off easily.
12:55Mayuyama's 40 years of experience gives him a practised confidence.
13:01It's better than that.
13:04It's the heart of my brain.
13:15It's okay, it's okay.
13:18None of the original material is left in the space where the triangle once was.
13:48It's time to increase the length of each other.
13:58What was this?
14:00It looks like a little bit different.
14:03The color isn't different.
14:07The size of the elastic is different.
14:11This section should have a phoenix head, but instead uses fragments from another piece of
14:27celadon pottery.
14:32Determining how to best repair areas where no original material exists can pose a challenge.
14:41If you don't have a phoenix head, you don't have to say anything, so it's very difficult to decide what to do with it.
14:51In this case, there are still some small pieces of clay, so it's a bit different to the shape of it.
15:07Black specs remain on the breakpoints.
15:11Parts of the lacquer used to join the piece refuse to dissolve.
15:28It will have to be scraped out, speck by speck.
15:41The fire is very clear, and the light will shine.
15:53How to make the fire, how to make the fire, how to make the fire, how to make the fire, how to make the fire.
16:02The fire is very important.
16:04After two weeks of work, the specks have been removed entirely.
16:26The normally concealed cross-section is laid bare.
16:34The white porcelain is covered with thick blue glaze to complete the uniquely transparent
16:39beauty of Celadon.
16:42In August, the clients visit to consult about the restoration process.
17:07It's a very good idea.
17:14It's a very good idea.
17:19It's a very good idea.
17:23There are also parts of the ear.
17:26I would like to put down on the ear.
17:29I would like to say,
17:31in a moment,
17:33we must not be able to make the ear.
17:35The ear is made on the ear.
17:38This is the ear.
17:40It's a part of the ear.
17:42The ear is made with the ear.
17:44It's a part of the ear.
17:46Yes, it's an original.
17:49It is a part of the ear.
17:52I think that's what I think.
17:54Yes, yes.
17:55I think that's what I think.
17:57I think that's what I think.
17:59Yes, yes.
18:01I think that's what I think.
18:03Yes, yes.
18:05I think that's what I think.
18:07For the missing details, they take inspiration from a national treasure.
18:22The image is a bit more than that.
18:29There's been a lot of changes.
18:32I think that's what I think.
18:37I think that's what I think.
18:40I think that's what I need to do.
18:43I think that's what I think.
18:45I think that's what I think.
18:47After some discussion, they decide to recreate the piece to blend in.
19:17With its surroundings.
19:47Not even the tiniest of cracks escape Mayuyama's repairs.
20:02To treat them, he uses a clear resin that hardens over time.
20:27He carefully warms the fragment.
20:43It's a feat only the god hand could master.
20:50In the case of milk, there's a lot of隙間 in there.
20:53If you want to heat it a little, it won't be able to absorb it.
20:57The transparent resin is pulled into the cracks, seemingly erasing them entirely.
21:06Now, the fragments are assembled.
21:13Now, the fragments are assembled.
21:50The technique was pioneered by Mayuyama's father, Manji.
22:01Originally a lacquer specialist, he incorporated the unique methods into restoration.
22:08But in the post-war period, Mayuyama's father's skills remained.
22:33Largely secret.
22:40Largely secret.
22:47It's completely different, but there are quite a lot of different parts.
22:54I don't know how to do it, but it was a time that I didn't understand.
23:03I think that there was a lot of art in the museum,
23:08but I think that there was a lot of art in the museum.
23:13I'm not going to be able to get back to the store.
23:18I don't think I'm going to be able to get back to the store.
23:26I'm going to be able to get back to the store.
23:40After leaving university, Mayuyama studied under his father and eventually surpassed his skill.
23:55The core of his work is Tomanaoshi.
23:58Unlike Kintsugi, it seeks to fix objects in a way that they appear new.
24:10Even objects shattered into pieces can be fully restored.
24:15It requires skill at an unrivalled level.
24:19The base is prepared first by Mayuyama's son.
24:31The base is made by the wood.
24:52This is a wood wood, and this is a wood wood.
24:55This is a wood wood wood, so...
25:14What is this?
25:16I think it's about 140 or 150.
25:22There are a number on the top.
25:27This is the same from the stone.
25:32It's different from the thick.
25:37It's almost the same color.
25:41Mayu-yama showed us the traditional materials he uses.
25:52It's old, but it's about 70 years ago.
26:04Like this, I used to use it.
26:11It's called,
26:13it's called,
26:16I used to use this as a stone.
26:23I used to use this as a material.
26:28I used to restore the wood when I used to repair the wood.
26:35I used to use the material as a material.
26:40Once the base is complete, color is then applied.
26:47I used to prepare aeryxamper.
27:05I used to use a color.
27:10One of the techniques that earned Mayuyama the moniker of the god hand was his intense attention
27:32to color matching.
27:37He recreates the indentations made by hand in the wave pattern.
28:05But his true mastery is shown in the next step.
28:33This is the first step.
28:35This is the first step.
28:39He uses a pin to add tiny indentations.
29:09It's about 30 minutes.
29:39section has now been replaced.
30:09もうちょっと。
30:10もういいんじゃねーの?
30:11もうちょっと。
30:13やってると大変なことになっちゃうんだよ。
30:17大体。
30:18よくあるパターン。
30:19よくあるパターンね。
30:39本日は第5周目。
31:02テープスタートとなります。
31:09Bowling is a pastime that Mayuyama has enjoyed for over four decades.
31:28平等院すごく好きだったんで、その小さい頃ね。
31:32割り箸とか、ボール紙を使って、お寺を自分で作ると。
31:39そういうのを結構家でやってるのが好きな子供だったんで。
31:45そうすると、父が彫ったバルサの仏像に金箔を貼ってくれたりとかしてね。
31:52そんなことをして。
31:55父も別に僕に告げということは言っては全然なかったんですけども。
32:00割と最初の頃からですかね。
32:03嫌だって思ったことほとんどないので。
32:07本当に何時間でも同じ作業をしてられるっていうか。
32:13断った仕事ってどういうものですか。
32:20そうですね。平馬用。
32:24やっぱりちょっと作業量的にとても難しかったので、平馬用は断ってたことがありましたね。
32:32ミイラ来たろ、ミイラ。
32:34ミイラね。
32:35ミイラとシイラカンス来たろ。
32:37ミイラを前頼まれたこともあったんですけど、ミイラはお断りしましたね、確かに。
32:42なんでですか。
32:43どうなんでしょう。
32:44呪われちゃうからだろう。
32:46まあ、確かに。
32:47ミイラとシイラカンス。
33:09ミイラのティーボールが終わった。
33:18仕事って、手間をかければ、かけるほどやっぱり良くなるものなんですよね。
33:25手間を省くと、絶対ダメなことはわかってるので。
33:30だから、もう本当に自分の理想の90%までできたものを、
33:37その91%、92%にするために、
33:402倍、3倍の時間をかけてもかまわないっていう形でやらないと、
33:45なかなかうまくいかないですね。
33:52はい、以上です、これは。
33:54はい。
33:55最後に、トトゥヤ・チャワン・ティーボールが終わった。
34:041番目のリープルの作品の内容の3倍が終わった。
34:06すごい4倍になって、
34:10解いたシーターのトゥヤーは、
34:11全然どの重要なインナルの作品とかも、
34:16分かわらないといけない。
34:17had always been present.
34:39Mayuyama has a strict policy when it comes to restoration.
34:48over 70 years after all,
34:50I'm sure you're still aware of what I've learned before.
34:54I have the đish for the people who give me more.
34:58I have no idea what to do.
35:03So I don't look for those who can do it.
35:08I have to do it for a good-game,
35:13I think we need to be able to do something for ourselves.
35:38Yu sets about restoring the shape of the Phoenix.
35:43It's a little different.
35:48Oh.
35:50But it's not completely different.
35:52So, and then I mean,
35:53what's it like?
35:55It's like,
35:56I mean,
35:58I mean,
35:59it's not like it.
36:00It's like it's heavy to it.
36:02But it's like,
36:03it's just like it's heavy.
36:04I mean,
36:05it's a little weird,
36:06it's funny.
36:07I mean,
36:08it's a little weird.
36:09It's very weird.
36:10It's very weird.
36:11It's good to be.
36:12He makes the base of the relief from plaster.
36:42It's a piece of paper.
36:47I'm not sure how to make it.
36:51I still have a piece of paper.
36:54I'm not sure how to make it.
36:59It's a piece of paper.
37:05I don't know.
37:07It's a big deal.
37:15I think I need to get a little bit more.
37:21I don't think I need to get a little bit more.
37:27I don't know.
37:29I don't know whether it's a meatball.
37:31I don't know if I can't tell you this one.
37:33But you can't tell me if I can't tell you this one.
37:35How about we're doing this one?
37:37If we're going to do this one, we're going to do this one.
37:39A lot of effort is done.
37:40We're going to take all of this stuff from the chef.
37:42I'm going to take all of this stuff.
37:44This is a part of my chef's dressing.
37:46You're looking for it.
37:48I don't know.
37:55I'm going to eat this one.
37:56Yeah, yeah, yeah
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41:24Mayuyama alternates between a pin and chisel as he sculpts the details.
41:43The eyes are the final touch.
41:54The eyes are the final touch.
41:57I should not see the eyes.
42:00Vance is almost all the eyes.
42:03This is fine.
42:06This is fine.
42:11The eyes are the same.
42:14This is fine.
42:17This is fine.
42:19He prepares the celadon glaze.
42:49The color is perfect.
43:19Mayuyama even recreates the transparency of the celadon.
43:49This special powder with bubbles sealed inside recreates the consistency of the glaze.
43:58The smell of the glaze is very important.
44:05The smell of the glaze is very important.
44:15The smell of the glaze is very important.
44:22The smell of the glaze is very important.
44:34It's like this.
44:37The smell of the glaze is very important.
44:50The completed works are delivered to the eagerly waiting clients.
44:58The air of the Senke School is especially looking forward to seeing them.
45:11First, they look at the Totoya Chawan T-Ball.
45:40As for the Celadon Flower Vase...
46:10The Phoenix rises again...
46:40The Phoenix rises again...
47:10The glimmering, semi-translucent surface is unmistakable...
47:22The Vase and Chawan Bowl, hallowed staples of the tea ceremony, have been revived by Mayuyama's artistry.
47:38To celebrate their completion, the descendant of tea master Senno Rikyu serves tea.
47:52They savour it in the Tatoya Bowl.
48:07How are you?
48:14How are you?
48:15It's great.
48:19How are you?
48:21How are you?
48:22How are you?
48:23How are you?
48:24How are you?
48:25How are you?
48:26How are you?
48:28How are you?
48:29How are you?
48:30How are you?
48:31How are you?
48:33How are you?
48:34How are you?
48:35How are you?
48:36How are you?
48:37How are you?
48:38How are you?
48:39How are you?
48:40How are you?
48:41How are you?
48:42How are you?
48:44It's been a long time since it's been a long time.
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