Limited Edition – Mono no aware

The special edition Mono no aware was born from the meeting and support of two families of entrepreneurs deeply linked to the Franciacorta area and the fruits that derive from its processing. The Mazzocchi family, in the nineteenth century, operated in the sericulture sector and, with the same passion and dedication, the Caruna family has been involved in the wine sector for years Pompeo Mazzocchi during his fifteen expeditions to Japan for the purchase of seeds. Bachi was fascinated by the habits, customs and traditional artistic production of the population; so much so that he purchased numerous works which he exhibited in his home in Coccaglio, creating an extremely heterogeneous collection. The oriental art collection was then inherited by his son Cesare Mazzocchi, who chose to donate it to the local community allowing the creation of the Museum of Oriental Art - Mazzocchi Collection in Coccaglio. A legacy passed down, therefore, like that which is transferred from generation to generation in the Caruna family.


A QR code to link to a page with dynamic content, updated periodically: in it you can for example immerse yourself in the universe of waka, the Japanese poems, narrated and sung by Megumi Akanuma, in an experience that recalls the ancient traditions of the noble ladies of the imperial court of Kyoto, or explore the secrets of kintsugi, the art of repairing and fortifying with gold; From month to month, returning to the page dedicated to the project, owners of Mono No Aware bottles will be able to find new conversation starters and insights.
This code becomes the passport for a journey into Japanese culture, a door that opens onto a world of art, literature and history to give voice and shape to an innovative project that aims to bring art directly to the table, between conviviality and pleasure of good living, creating an experience that intertwines two worlds, giving the opportunity to talk about Japanese art and culture even while sitting comfortably at the table with friends, providing an unusual and stimulating starting point for conversation.

Mono no aware thus becomes a journey through time and space, allowing you to explore a territory and a cultural heritage that combines with the ancient splendor of the works of art of the Mazzocchi Museum and is intertwined with one of the most characteristic products of our territory.
Being able to talk about Japanese culture for an hour using the bottle as the only "slide" or simply instilling curiosity in diners is one of the objectives of this initiative in which every element blends harmoniously, offering a complete and engaging experience that goes beyond beyond simple written words and carries within it the hope that our table will never lack good wine and good conversations.



Kintsugi is an ancient restoration technique for repairing broken ceramic objects. Its name comes from the union of two words, kin-oro and tsugi-reunion.
According to the most famous legend, kintsugi originated in the 15th century AD, when Ashikaga Yoshimasa, eighth shogun of Ashikaga, after breaking his favorite tea cup, sent it to China to have it repaired. Unfortunately, the repairs were carried out with unaesthetic and not at all functional metal bindings. The object now seemed lost, but its owner tried to entrust it to some Japanese craftsmen who, surprised by the shogun's tenacity in getting his beloved cup back, decided to try to transform it into a jewel by filling the cracks with lacquer and gold dust .
There are many anecdotes about the breakage of "famous" ceramics, especially linked to the first times after the birth of the tea ceremony (chado ̄).
The most famous tea master, Sen No Rikyū (1522 – 1591), is the protagonist of one of these episodes. It is said that he was invited by a rich gentleman who wanted to amaze the master by showing his latest purchase: a precious Chinese chaire (tea vase), an artifact from the Song dynasty, splendid for its shape and the quality of the enamel. The man, who hung on the master's lips, served the tea, but not a word was said on the chaire, Sen No Rikyū completely ignored the piece, probably due to his thoughts around the tea ceremony, which was supposed to be simple and without ostentation. When the master left, the rich gentleman, disappointed and embittered, threw the precious vase against an iron tripod. Some guests who were still there collected all the pieces and had the vase repaired with the kintsugi technique. When the master was invited again, he immediately noticed the vase and said: “Now it is magnificent.”
Then there is another legend, linked to the figure of general Toyotomy Hideyoshi (1537-1598). It seems that, during a rally, his teacup, called Tsutsui zutsu(1), broke into five pieces. Hideyoshi was known for his irascible character and Hosokawa Yusai, a famous and powerful feudal lord, loyal to the shogun, playing on the words of the famous poem of the Ise Monogatari took responsibility for the breakup to avoid more serious trouble (even execution) for the others diners.

筒井筒 / 五つに割れし / 井戸茶碗 / とかをば我に / 負ひにけらしな。

“Tsutsui zutsu / itsutsu ni wareshi / idojawan / to ka oba ware ni / ohi ni kerashina .”

``Well real. The well cup (shaped like a well ring) broke into five pieces.
I am responsible for this disaster! ``

As far as practice is concerned, the restoration process essentially takes place in three phases: gluing, stuccoing, gilding.
The gluing is done with urushi lacquer, which is the main "ingredient" to reproduce the real kintsugi technique. It is a resin that is extracted from the Rhus paintflua plant, native to Japan, which is also found in China, Vietnam and South-East Asia, although the most valuable variety remains the Japanese one. The first lacquerware artefacts date back to about 5,500 years ago, before the Jomon period, and were found in the Shimahama tomb in Fukui Prefecture. It is likely that the name derives from the composition of two words: uruwashi (beautiful, pleasant) and uruosu (humid and luxurious). The sap is collected between the months of June and November, when parallel incisions are made in the bark of the trunk at regular intervals, to make it flow. Each plant, in its "useful" life for harvesting, produces only 200 grams of resin, which is why urushi lacquer is very expensive.
Unfortunately this resin is stinging and very poisonous.
Since ancient times, urushi lacquer has been used for its strong bonding power in the construction of tools and weapons. To this day, lacquer is used to glue ceramics: mixed with rice flour it is called nori urushi, while combined with mugi wheat flour urushi. The product, once glued and put together with elastic bands, is placed in a cabinet called a wall for about three weeks. It seems like a paradox, but urushi dries with heat (20°) and humidity (80/90%).
Once the piece has been glued, we continue with the grouting. The stucco must then be sanded perfectly. Once this operation is finished, you can proceed to paint the cracks with lacquer, using a very fine brush. When the lacquer "is about to dry, but is not yet dry", as the shop assistant in Kyoto where I first purchased the urushi told me, you can proceed to gilding the crack with the dusting technique.
After a fortnight it is possible to burnish the gold with taiki (a tool made with a snapper tooth), to make it even shinier.
Wanting to leave aside the aesthetic discussion, which would imply a digression on the concept of Japanese beauty, we cannot however fail to take into consideration the precious message that this technique conveys to us: a broken object, which seems to be thrown away, is worth more than a new object. Scars thus become a synonym of wealth, and not something to be ashamed of. Kintsugi brings with it a wonderful message: the more you suffer, the more you are bent by life, the richer and more precious you become!
Anita Cerrato

1 - Sen Soshitsu XV: Chado Koten Zenshu. Kyoto: Tankosha, 1971, vol. 3, Choando ki, p. 357. Original text published in 1640.


Our wines want to represent as clearly as possible the uniqueness of the territory from which they originate: Monte Orfano. Minerality and sapidity represent the distinctive trait given by the particular origin of these lands.