It is said that the origins of this style of carving lie in the fact that the highly skilled carpenters of Inami, who rebuilt the main hall of a temple that had burned down in the mid-18th century, were taught carving techniques by a sculptor dispatched from Kyoto.
In his early days, he worked as both a carpenter and a sculptor, with temple carvings making up the majority of his work. In the Meiji era, he began to specialize in carving, and he started to create products for the general public, such as transoms for houses.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. For transoms, the following techniques or methods shall be used:

  (1) The carving shall be a deep openwork carving with "mikomi-tori" and "bukurin-koboshi" techniques.
  (2) The finishing work shall be done by "line engraving," "relief engraving," and "relief carving."
  (3) The thickness of the board material used shall be 45 millimeters or more.

  2. For ornaments, the following techniques or methods shall be used:

  (1) Use chisels and carving tools for carving.
  (2) The finishing touch should be "chirimen carving".
  (3) When carving a lion's head, the upper and lower jaws should be carved as one piece, and then separated at the "small carving" stage.
  (4) When carving Tenjin, one of the following methods shall be used:
  (i) In the case of a Tenjin with a "sash," the head and the copper are carved separately, and after the final carving, they are joined together as one piece.
  (b) For other Tenjin statues, the head and body should be carved as one piece, and then the finishing carving should be done.

  3. For "wooden carved frames" and folding screens, the following techniques or methods shall be used:
  (1) The carving shall be openwork or relief carving with "recessed carving" or "bordered carving".
  (2) The finishing shall be done by "line engraving," "relief engraving," "relief carving," and "crepe carving."

   

  raw materials

  For transoms, carved wooden frames, and folding screens, the raw timber shall be camphor wood, zelkova wood, or timber of equivalent quality. For ornaments, the raw timber shall be camphor wood, zelkova wood, paulownia wood, or timber of equivalent quality.

• Work scene

  Work scene

  Step 1: Sketch

  I draw a preliminary sketch on the material. At this stage, I decide where to start carving, considering which areas to carve and which not to, and which areas to penetrate and which not to.

  

  Step 2: Rough drilling

  First, use a coping saw or similar tool to cut out the area where you want to pierce through.

  

  Step 3: Rough trimming

  Next, roughly trim away any unnecessary parts using a coping saw or chisel. Keep the final appearance in mind at all times and be careful not to cut off too much.

  画像をクリックすると動画が再生されます

  Step 4: Rough carving

  We then use chisels and carving tools to further refine the shape. The outline is now almost complete.

  

  Step 5: Finishing carving

  The sculpture is meticulously carved using sharpened chisels and carving tools. Subtle curves and smooth surfaces are perfected. This process ultimately breathes life and soul into the sculpture.

  
• Close-up

  Close-up

  Inami wood INAMI Chokoku (Woodcarving) that will last for 100 years

  The carving technique for transoms, which expresses a world of infinite depth on a single plank of wood that is barely thick, is a skill that Japan and the world can be proud of. We spoke to a craftsman who has inherited this technique, and he told us about his encounter with INAMI Chokoku (Woodcarving).

   

  Yoshio Nomura was born and raised in the town of Inami. His father was a craftsman who made Jizo statues and tombstones. There were many wood carving shops in the neighborhood, and he grew up watching wood carving work up close from a young age. "I naturally thought that I would become either a carpenter or a carver," says Nomura, who entered the world of carving immediately after graduating from junior high school and has been carving wood every day for 52 years since then. "You can acquire the skills to make things in five years, but it takes ten years to become a full-fledged craftsman," Nomura says. He worked under a master for about 30 years and became independent at the age of 47. He carves anything to order, including transoms, wood carving panels, Tenjin statues, and lion heads. "I think I started to feel confident in my work when I was around 54 or 55 years old," he says, and this statement offers a glimpse into the profound depth of INAMI Chokoku (Woodcarving).

  "Old tools are cool."

  All of Mr. Nomura's tools are well-worn and show their age. In particular, the first chisel he ever bought is so short it looks like it's been used to the bone. The length of the blade is reduced by only a tiny amount with each sharpening, so when you think about that, you can see just how much he's used it. He uses natural whetstones, which are also well-used and quite thin. "Old tools are cooler and better. They're sleek overall, and these curves are beautiful," he said, showing me various tools. I was amazed by the number of chisels he produced one after another. He said he has at least 200 chisels alone. He also makes most of the small planes himself. To carve all kinds of shapes, you need all kinds of chisels and planes. "I cherish the tools my master gave me more than the ones I bought myself," he said. Perhaps the craftsman's spirit of INAMI Chokoku (Woodcarving) is passed down through the tools.

  These well-used tools are truly an extension of the user's hands.

  A 100-year-old tree will last for 100 years.

  The materials he uses for his sculptures are mostly zelkova and camphor. "Zelkova with a tight grain (fine grain) is best for carving. Camphor is the easiest to carve. But you have to be careful because camphor tends to twist." "Taiwanese camphor is soft, but it doesn't smell like Japanese camphor." When you ask him about the materials, he answers one after another. Understanding the characteristics of the wood is also an important part of the job. You can feel the confidence and pride in Mr. Nomura's words, who has been doing this for decades. "A 100-year-old tree will last 100 years. That's what they've always said." All of Mr. Nomura's work is undoubtedly something to be proud of even 100 years from now. His works make you want to have one for yourself, intending to pass it down to your descendants 100 years from now.

  An album containing various sculptures I have created so far.

  Still studying

  Transom carvings are designed to create a sense of depth when viewed from a low angle, that is, from the perspective of a person installing the transom in a building. The technique used to create the appearance of multiple layers is truly miraculous. This technique is also applied to panels and sculptures other than transoms. Dragons, flowers, birds, and the moon are carved into the panels, and the subtle shading gives them a rich and expressive appearance. For sculptures, lion heads, Tenjin (Sugawara no Michizane), and Buddhist statues are common. On this day, Mr. Nomura was also carving a Buddhist statue. "Even if you can make something, whether you improve afterward or not depends on the individual," he said, with research materials on Buddhist statues spread out beside him. Even at 67 years old, he hasn't forgotten his desire to learn. It is because of this kind of craftsman that his works come alive and seem to be imbued with life.

   

  Besides openwork transoms, they also carve Buddhist statues and images of Tenjin (a Shinto deity).

  Craftsman Profile

  ​Yoshio Nomura

  Born in 1933. A traditional craftsman who also served as an instructor at the Inami Wood Carving and Craft Advanced Vocational Training School. His favorite sake is "Tateyama".

  

  Anecdotes

  About the wood used in INAMI Chokoku (Woodcarving)

  The wood used in INAMI Chokoku (Woodcarving) is almost exclusively zelkova and camphor. Zelkova, in particular, is said to be best suited for carving if it has a tight grain. This tightly grained zelkova is almost always from old trees, 200 to 300 years old, or even older. Generally, the spacing of the annual rings becomes denser as a tree ages. Furthermore, among these, only knot-free zelkova is suitable for carving. Zelkova that meets these conditions is extremely rare. Naturally, the material costs are high. The craftsmen are well aware of this, and therefore pour their souls into each and every strike of the chisel, hoping that their creations will continue to be used for 100 years to come.

  • Zelkova wood with a tight grain is preferred.
  • Each swing of the chisel is imbued with soul.