Ancient documents contained terms related to Buddhist altar making, such as lacquerware tools, gold powder, gold leaf cutting tools, and gold and silver leaf.
Furthermore, the town of Nanao has had a district called Nushi-machi (lacquerware craftsman's town) since the Edo period, suggesting that there were many lacquerware craftsmen there.
From these facts, it can be concluded that NANAO Butsudan (Household Buddhist Altars) were being produced from around the mid-17th century. The oldest surviving altars date back to 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 mirror panel of the "wooden" version shall be double-layered, and the stand shall have a sliding platform edge.

  3. The neutral construction method shall be based on the "masugumi" (square-frame construction) 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 cypress, hinoki cypress, pine, ginkgo, machilus, 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

  It is said that there are two reasons why Buddhist altars began to be made in Nanao.
  The first reason is the strong religious faith in the Noto region. This region has many historically significant temples, such as Myojo-ji Temple of the Nichiren sect, Soji-ji Temple, the head temple of the Soto sect, and Yoko-ji Temple in Hakui. Furthermore, the fact that Jodo Shinshu Buddhism, which gained popular support through the missionary work of Rennyo Shonin in the Hokuriku region, spread widely in the Noto region is also considered a factor behind the spread of Buddhist altars.
  Secondly, the Noto region has long been known for its vibrant festivals. Portable shrines are an essential part of these festivals. These shrines require techniques such as lacquering, carving, and metalwork, indicating that there have long been artisans in this region who possess these skills. It is said that these artisans' involvement in the manufacture of Buddhist altars formed the basis of NANAO Butsudan (Household Buddhist Altars). Even today, artisans who make Buddhist altars often also engage in the manufacture of portable shrines and other similar items.
  At NANAO Butsudan (Household Buddhist Altars), each altar is made by five different craftsmen. These five craftsmen represent carving, woodworking, maki-e (gold lacquer), metalwork, painting/gold leafing, and assembly. The basic process of making a Buddhist altar involves simultaneously working on the "woodworking" to create the exterior, the "internal construction" to create the interior components such as the shumi-dan (altar platform), pillars, brackets, and roof, the "carving" to create the carvings to be attached to various parts of the altar, and the "metalwork" to create decorative metal fittings and door hinges. These parts are then "painted" with lacquer, "gold leafed," or "maki-e" applied, and finally, "assembled." The "assembly" stage involves considering the overall finish and giving instructions to the craftsmen in each section, acting as a kind of producer for the entire process.
  Now let's look at the main steps involved.

  Step 1: Wood carving

  These pieces are crafted by woodcarvers using woods such as red pine, ginkgo, machilus, rosewood, and ebony. The materials are thoroughly dried, and the wood is selected according to its intended use, paying attention to knots, cracks, twists, and warps. The design is sketched onto the selected wood, and then carved using chisels and hammers.

  

  Step 2: Wood base

  This process primarily involves creating the exterior parts of the Buddhist altar. We use carefully selected woods such as Noto cypress, Noto cedar, and ginkgo. Again, we use thoroughly dried materials and carefully create each component, including pillars, boards, shoji screens, altar frames, and ceilings, paying attention to knots, cracks, twists, and warps.

  

  工程3： 蒔絵

  Makie is a decorative process where pictures are drawn with lacquer on lacquered surfaces such as doors, and then gold powder is sprinkled on top. We create gorgeous and luxurious makie finishes.

  

  Step 4: Hardware

  These are carved metal fittings made using traditional hand-forging techniques, primarily featuring arabesque patterns. We create hinges and decorative fittings for front doors, shoji screens, base frames, pillars, and other surfaces. Brass plates are cut to size, molded, and then the patterns are carved using various chisels.

  

  Step 5: Applying gold leaf

  This process primarily involves applying gold leaf to the interior panels, dividers, and carvings of Buddhist altars. We use high-quality Kanazawa gold leaf, which accounts for 99% of Japan's total production.

  

  工程6： 組立

  The assembly process involves steps such as attaching the central components and assembling the main body. After attaching the metal fittings and completing the assembly, the Buddhist altar is inspected, and any dirt, dust, or fingerprints are wiped away to finish the process.

  

   

• Close-up

  Close-up

  Magnificent and imposing, Nanao NANAO Butsudan (Household Buddhist Altars).

  Located on the eastern coast of the Noto Peninsula in Ishikawa Prefecture, in Nanao City overlooking Nanao Bay, it is said that the manufacture of Buddhist altars began in the latter half of the 17th century. The manufacture of Buddhist altars requires many types of traditional craftsmanship, including lacquer painting, metalwork, and wood carving.

   

  A comprehensive art form created using five different crafts.

  "A Buddhist altar is created through the collaboration of five artisans and craftsmen: carving, woodworking, maki-e (gold lacquer), metalwork, and painting/gold leafing/assembly. You could say it's a 'comprehensive art form'," says Hideaki Takazawa, a traditional craftsman specializing in painting, gold leafing, and assembly. Among the five artisans, Takazawa, who is also in charge of the assembly process, is essentially the "overall producer." He knows the skills of each craftsman well and places orders accordingly. Takazawa is also the owner of Takazawa Buddhist Altar Shop. The shop is filled with many dazzling Buddhist altars, creating a solemn atmosphere. "A Buddhist altar is placed in the heart of a home, and it is something that people pray to for generations. I feel proud to create such things." This is the passion of Takazawa, a third-generation Buddhist altar craftsman who has been doing this work for 30 years.

  

  The defining characteristic of NANAO Butsudan (Household Buddhist Altars) is their opulent and magnificent appearance.

  The size of NANAO Butsudan (Household Buddhist Altars) depends on the size of the Buddhist room.

  People from all over the country who visit the area as tourists learn about NANAO Butsudan (Household Buddhist Altars) and come to buy them. "NANAO Butsudan (Household Buddhist Altars) are characterized by various technically intricate details, such as the deshumidan (a type of altar platform), but their overall size is also a distinctive feature." Some are over 2 meters high and 1.4 meters wide. The reason for this is that "Buddhist rooms in this area used to be spacious. If you were to place one in an eight-tatami-mat room, you would need something of this size." Standing before these imposing Buddhist altars, which are so large you have to look up at them, you really feel like putting your hands together in prayer.

  

  Beautiful maki-e (lacquerware with gold or silver powder) painted on the door

  Understanding the meaning of each part of a Buddhist altar can be quite interesting.

  "If you look at a Buddhist altar without knowing anything about it, it just looks like it's gaudy and gold, right? But each and every part has a specific meaning. The reason why it's so shiny in the first place is..." he says, taking out a sutra (the Amitabha Sutra) and reading it aloud. "In this sutra, there is a passage that describes the world of Buddha. It describes things like seven treasures and beautiful ponds, and the Buddhist altar represents that world." In other words, this splendor is an attempt to recreate the world of Buddha in the homes of ordinary people. "Furthermore, it is believed that the world of Buddha lies beyond a mountain called Mount Sumeru, and the lower part of the shrine in the Buddhist altar represents Mount Sumeru. In addition, the designs carved on the shoji screens depict scenes from the Sixteen Arhats and the Twenty-Four Paragons of Filial Piety. The Twenty-Four Paragons of Filial Piety are stories of twenty-four filial pieties from China, for example, "digging for bamboo shoots in the cold" tells the story of a father who, because his sickly mother wanted to eat bamboo shoots, dug them up even though it was still cold. When you start to understand these kinds of things, the Buddhist altar becomes interesting."
  In addition to its comprehensive nature as a culmination of five traditional craft techniques, the Buddhist altar also encapsulates the broad and profound narratives of Buddhism.

  

  The metal fittings are made by metalwork craftsmen.

  The Door to a Profound World

  When considering the entire Buddhist altar, one must also pay attention to the placement of designs such as the lacquer work on the doors and the carvings on the sliding screens. "It would look strange if a lion were carved higher than a human figure. But birds fly, so it's okay for them to be higher. For example, if you carve an animal here, it would be good to have a landscape below it and a celestial maiden above it. The craftsman assembling the altar must consider all of these things." This is where the producer's skill truly shines.
  Mr. Takazawa, a craftsman who assembles Buddhist altars, might be described as being similar to a film director. He is entrusted with not only the technical aspects of visuals and sound, but also the storytelling.
  Even so, I never imagined that such a profound world existed within the familiar Buddhist altar, something that every Japanese person has prayed to at some point.
  "Originally, a Buddhist altar is a celebratory object for enshrining Buddha. In nuclear families, saying 'we don't need one because no one has died yet' is actually wrong." Through Mr. Takazawa's story, we were able to learn a part of the culture that has nurtured the concept of a Buddhist altar.
  I highly recommend taking a close look at your family's Buddhist altar. I'm sure that putting your hands together in prayer before it will become a source of comfort for you.

  

  A row of chisels is lined up in front of the craftsman who carves the intricate designs on the shoji screens.

  Craftsman Profile

  Hideaki Takasawa

  "It becomes interesting when you understand the meaning of each element in the Buddhist altar," says Takazawa.

  For 30 years, starting at age 25, he worked on the painting, gold leafing, and assembly of NANAO Butsudan (Household Buddhist Altars). He is a certified traditional craftsman.

  

  Anecdotes

  Tools of craftsmen that support comprehensive arts

  Even something as simple as making a Buddhist altar requires a variety of traditional craftsmanship. In Nanao, it's said to be done by five different artisans.
  One of the woodcarvers is Masakatsu Yonemura. He creates carvings that are fitted into the shoji screens of Buddhist altars. The sight of the many chisels needed for his work neatly arranged on his workbench is impressive. "I have about 70 chisels just for the small carvings I'm currently working on, like for Buddhist altars. For larger jobs like those at temples, I need different chisels. With so many, maintenance is a lot of work. I have to be especially careful during the rainy season because they rust if I'm not careful."
  It's often said that a true craftsman is someone who can properly manage their tools. While this isn't always apparent from the finished product, seeing the chisels lined up before me made me truly understand its meaning. The luster that only well-used tools possess is beautiful.

  • 

    Mr. Yonemura switches between the chisels that are neatly lined up.