The Sanjo region was a place where Buddhism flourished, so much so that it was called "Sanjo, the Buddhist capital." In the mid-Edo period, a temple with what was said to be the largest temple complex in the Hokuriku region was built there.
During its construction, numerous local craftsmen from Sanjo participated under the direction and guidance of master carpenters, cabinetmakers, and metalworkers summoned from Kyoto.
Subsequently, as Jodo Shinshu Buddhism, centered around this temple, spread among the people, the manufacture of Buddhist altars began in this region. The foundation for the region's current status as a production center was established during the mid-Edo period.

• Technology/techniques/raw materials

  Technology/techniques/raw materials

  Technology/techniques

  1. The structure of the "wooden base" is assembled using "mortise and tenon joints".

  2. The lintels shall be either "bow-shaped lintels" or "bracken-shaped lintels."

  3. Palace construction shall be carried out using either the "masu-gumi" or "hijiki-masu-gumi" method.

  4. The painting shall be done by hand using refined lacquer.

  5. Apply maki-e (lacquerware with gold or silver powder) and gold leaf.

   

  raw materials

  1. The wood used shall be Japanese white pine, Japanese cedar, magnolia, paulownia, zelkova, cypress, ginkgo, or yew, or timber of equivalent quality.

  2. The metal fittings shall be made of copper, a copper alloy, or a metal of equivalent material.

  ３ 漆は、天然漆とすること。

• Work scene

  Work scene

  Step 1: Wood preparation

  Using carefully selected wood, the main body of the Buddhist altar is finished using mortise and tenon joints (the same style as temple architecture, where wood is hollowed out, fitted together, and assembled without using nails).

  

  Step 2: Building the Palace

  The temple and palace are constructed using a modular system with a traditional Japanese wooden frame, creating the grandeur of a palace.

  

  工程3： 彫刻

  After selecting a design, the piece is carved into the wood using several types of carving tools.

  

  Step 4: Making the metal fittings

  It is crafted using copper and copper alloys, employing several types of chisels and traditional hand-forging techniques.

  

  Step 5: Painting

  Using natural lacquer, the lacquer finish is achieved through several layers of hand-painting techniques.

  

  工程6： 蒔絵

  It will be finished using the elegant techniques of flat maki-e and rust-effect maki-e.

  

  Step 7: Foil stamping

  Using pure gold leaf and employing techniques such as high-gloss and matte finishes, we add a touch of splendor to your Buddhist altar.

  

  工程8： 組み立て

  Each component, completed through a division of labor, is precisely assembled while making fine adjustments to create the finished "SANJO Butsudan (Household Buddhist Altars)."

   

• Close-up

  Close-up

  SANJO Butsudan (Household Buddhist Altars) crafted with techniques only skilled artisans can perform.

  Buddhist altars are so commonplace that we rarely pay them any attention. But if you take a closer look, you'll find a world with endless depth. Here, we focus on the metal fittings of these altars and spoke with metalwork craftsman Tanaka and lacquer craftsman Yamaura.

   

  Sanjo, a town known for its metalwork, is best characterized by its metal fittings.

  Niigata Prefecture is a renowned center for Buddhist altars. The SANJO Butsudan (Household Buddhist Altars) is one of three altars designated as a traditional craft. Sanjo is a town famous nationwide for its metalwork. The Buddhist altars that have flourished in Sanjo since the Edo period naturally feature elaborate metal fittings. "The metal fittings of a Buddhist altar consist of outer fittings visible on the outside of the doors and inner fittings inside, and each one is made individually," says metalwork craftsman Tanaka. He shows us a variety of fittings, ranging in size from about 5 centimeters to about 30 centimeters. "Metalwork craftsmen have quite a lot to do. First, they have to be able to draw the patterns, or designs, on the metal. Then they need metal engraving skills, and also chemical skills. And finally, they have to color the metal."

  

  Mr. Tanaka's factory drawers are overflowing with tools.

  Even with 100 bottles, I can immediately tell which one to use.

  So, how exactly does the work in this metalwork department proceed? First, based on the sketch, dimensions are taken and the pattern is made on a copper plate. "I think about how to combine the pieces on a single copper plate to get the most out of it, and then I draw the lines." After that, the edges of each piece of metalwork are carved with a "edge-carving chisel." Opening the drawers lined up right next to Mr. Tanaka, a mountain of "edge-carving chisels" with gently curved crescent tips are stored inside. From these more than 100 "edge-carving chisels," he searches for one that is exactly the same as the curve drawn in the sketch. "It may look like a lot of work, but it's actually not that hard. After doing this for many years, I don't have to search that hard; I can just tell, 'Ah, this is the one for this curve.' That's because I made them myself. I make these out of worn-out files and things like that." It turns out that the metalworker makes not only metalwork but also tools. I can't help but be amazed by the breadth of his work.

  

  There are well over 100 edge trimming chisels.

  It's something you can do with practice, but you can't do it as a job unless you're skilled.

  After removing the rim and drawing a pattern on the inside with a pencil, the next step is to engrave the inside of the rim. Holding a chisel in his left hand, he taps the copper plate with a hammer, repeatedly. He continuously strikes tiny dots about 2 mm in size to create lines. Once the pattern is engraved, he fills the remaining gaps with nanako. "This is called nanako because the round dots are neatly arranged like fish roe. This requires quite a bit of skill. You have to do it at a certain speed." After this, he cuts the rim, shapes it, and the metalworking is complete. Then, he colors it by oxidation or sulfidation according to where the fitting will be used, and it is finished.

  I want to make a difference by doing truly good work.

  Even just the metal fittings on a Buddhist altar require this much effort. It's no wonder that handmade altars are so expensive. "Buddhist altars are basically just a collection of labor costs," says lacquerer Yamaura. "These days, metal fittings can be made by pressing, so costs have gone down. We also import quite a lot from China." The wave of cost reduction is spreading to every industry in traditional crafts. Yamaura has been watching the Buddhist altar industry change with the times and says, "Everyone has been trying hard to make cheap products, but even with factory production, we can't compete with countries where labor costs are low. In terms of cost, we can't compete with China. In this era, I think the only way to survive is to differentiate ourselves. We have to do good work and make the difference clear. And I think there is definitely a demand for that."

  

  There are elaborately designed works of art throughout the Buddhist altar.

  Sanjo's work is interesting precisely because it's run by an individual.

  The beauty of handcrafted items lies in their originality. "With presses, you have to create the wood base to match the press. That eliminates individuality and prevents you from creating whatever you want. We want to create originals, after all."
  Because it is a small-scale production area, SANJO Butsudan (Household Buddhist Altars) can be made with the individual craftsman's will to uphold proper craftsmanship.
  Mr. Yamaura takes pride in the fact that "Buddhist altars embody traditional craftsmanship." He believes that it is precisely because of this concentration of skilled craftsmanship that handmade, high-quality items are being re-evaluated in the coming era. He says, "Even if they see the light of day, it's all over without the craftsmen. Craftsmanship is a division of labor; it cannot function if even one part is missing. I hope I can keep working hard until that time comes."

  Craftsman Profile

  Yusuke Tanaka

  Metalworker Yusuke Tanaka.
  His father was also a metalworker, and he had been helping out since junior high school. Mr. Tanaka's workshop is located inside their home.

  Mr. Hideo Yamaura, a lacquer craftsman.
  Mr. Yamaura's father was also a lacquer craftsman. His Buddhist altar shop is filled with wonderful works.

  

  Anecdotes

  Buddhist altars are very ecological.

  Buddhist altars and ecology may seem unrelated at first glance, but if we look at them from the perspective of "making" rather than "worshipping," we realize they are actually very environmentally friendly. Buddhist altars are made from natural materials that have been used in Japan for centuries, and they are completely recyclable. Recycling has been practiced in Japan long before laws like the "Home Appliance Recycling Law" were enacted. Buddhist altars remind us of the ecological spirit that has been passed down in Japan for a long time. <Materials>
  lacquer
  The lacquer used to coat the entire Buddhist altar is a natural paint. It serves various purposes, including coating, coloring, and acting as an adhesive for gold leaf and other materials. Lacquer is generally applied by hand, and only the amount needed is used, so unlike sprays, there is almost no waste. It is a material that is very well suited to humid Japan, as it dries faster in high humidity.
  copper
  Copper is used for the metal fittings in Buddhist altars. The scraps left over after the metal fittings are made are collected and sold. This is a perfect example of what is waste if thrown away but becomes a resource if separated, and it is said that selling them can bring in 10,000 to 20,000 yen a year. The copper left over after the metal fittings is of high quality because it is free of impurities, and it is immediately melted down and used.
  Chisel
  A metalworker's essential tool is the chisel. These can also be melted down to create chisels with different cutting edges. Apparently, they can also be made by melting down old files.
  gold
  Gold leaf is used to decorate Buddhist altars. There are even companies that come to collect any small flakes of gold leaf that have fallen into the room where the gold is being applied. This, too, does not lose quality because it is not mixed with any impurities other than gold.

  • 

    This Buddhist altar can be completely disassembled.

  • 

    The one on the left is brass, and the one on the right is copper plate scraps.