In the mid-Edo period, the Hikone domain encouraged highly skilled armorers, lacquerers, and craftsmen to stop making armor and instead engage in the manufacture of Buddhist altars. As a result, Buddhist altar making began as a small-scale cottage industry around that time.
Subsequently, the spread of Buddhism and the protection of Buddhist altar making by the Hikone domain established a system for producing HIKONE Butsudan (Household Buddhist Altars), which formed the foundation for its current development.

• 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. Palace construction should be based on the "masugumi" (square-frame) method.

  3. The painting shall be done by hand using refined lacquer, and in the case of "wood grain painting," a "roiro finish" shall be applied.

  4. Apply gold leaf using a "matte finish" method.

   

  raw materials

  1. The wood used shall be cypress, cedar, zelkova, or sen wood, 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 base

  The main body of the Buddhist altar is made from carefully selected woods such as cedar, pine, and cypress. Since it is an assembly method that does not use any nails, we carefully shape the wood while paying attention to warping and twisting. In addition, we use zelkova and sen wood in parts where we want to show the wood grain.

  

  Step 2: Palace railing

  The palace refers to the roof portion of the Buddhist altar. Because it's a detailed part, soft woods such as Japanese white pine or red pine are used. The assembly is done carefully, paying attention to the balance of the roof. The railing is the central section where the main body (Shumi) is placed.

  

  工程3： 彫刻

  A mold of the wooden base or palace is taken and transferred to the carving base. On this, preliminary drawings of flowers, arhats, celestial beings, bodhisattvas, birds and animals, family crests, etc., are drawn in pencil and roughly carved. Finishing carving is then done using carving tools. The thickness of the carving is 2.5 to 4 centimeters. In layered carving, two or three pieces are joined together with bamboo nails and layered, resulting in a thickness of 2.5 to 9 centimeters, which can create a greater sense of three-dimensionality.

  

  Step 4: Decorative metal fittings

  Metalwork is divided into three categories: flat, engraved metal fittings; three-dimensional engraved metal fittings used as decorative hardware for pillars and lintels; and relief-engraved metal fittings, which fall somewhere in between. The metalwork is hand-engraved on copper or brass plates using chisels. The metalwork is then finished with plating and coloring.

  

  Process 5: Lacquer coating

  All the wooden parts, including the base, the palace railings, and the carvings, are coated with lacquer. The lacquer is applied in three stages: undercoat, lacquer application, and roiro finish. The lacquer is dried in a drying room, polished with a whetstone, dried again, and then coated with lacquer once more. This process is repeated carefully many times before the lacquer's luster finally appears.

  

  工程6： 蒔絵

  The underpainting is applied to the maki-e board. Lacquer is then applied in layers with a brush according to the design. Depending on the pattern, the lacquer may be applied two or three times before being dried in a drying chamber. After that, colored lacquer is applied. Once dry, lacquer is applied to the areas that will not be colored, and after being evenly applied with a brush, gold powder is sprinkled on top, and lines are drawn with colored lacquer to make those areas stand out more. Finally, lines and dots are drawn with lacquer to finish the piece.

  画像をクリックすると動画が再生されます

  Process 7: Gold leaf stamping

  Align the seams of the gold leaf sheets and pick them up one by one with bamboo tweezers, gently pushing them up without applying too much pressure with your fingertips. While checking how well the gold leaf adheres, lightly smooth the seams with loosened silk floss. Place in a drying chamber and let it dry for 24 hours to allow the gold leaf to adhere properly.

  画像をクリックすると動画が再生されます

  工程8： 組立

  The parts that have completed each stage are gathered in one place for final assembly. The assembly proceeds in the following order: exterior, interior, upper base, side doors and side screens, main pillars and front panel carvings, ceiling, and front screens and front door.

  

   

• Close-up

  Close-up

  Handcrafted HIKONE Butsudan (Household Buddhist Altars) from Omi, Hikone

  HIKONE Butsudan (Household Buddhist Altars) represent the culmination of traditional Japanese craftsmanship, brought to life by seven different specialists. It is said that it takes a full year to complete a single altar.
  Buddhist altar making requires various processes and skilled craftsmen. This time, we spoke with lacquer artist Yukio Funakoshi.

   

  Adding color to the Buddhist altar

  The drawers and double doors are adorned with maki-e (lacquerware with gold or silver powder) depicting flowers, birds, and family crests. The underpainting is drawn with lacquer, then gold powder, silver powder, and shell are sprinkled on top, and finally polished to a finish. Mr. Funakoshi, who concentrates intently and draws each line without losing focus, describes this work as "work that goes against the times." In an era of increasing mechanization and speed, it is because of the meticulous handiwork of craftsmen, using methods that have remained unchanged for over a hundred years, that we can still encounter Buddhist altars that exude a warmth of soul.

  

  Painting with delicate brushstrokes

  Living lacquer

  Lacquer, with its sticky consistency and susceptibility to changes in humidity, is like a living thing, constantly giving artisans trouble. For Funakoshi, who became an apprentice at the age of 15, this troublesome lacquer made him feel discouraged and even threatened to distance him from the world of maki-e (lacquerware with gold or silver inlay). However, as he immersed himself in the traditional industry and came into contact with authentic materials, he began to notice the beauty, subtlety, and elegance of maki-e, and at that point, he became engrossed in the desire to "create authentic pieces with his own hands." If lacquer were a simple material, perhaps many artisans would not have been trained. It is precisely because things don't always go as planned that people strive. When you think about it that way, lacquer truly seems to be alive.

  The pursuit of beauty

  As with most crafts, mastering maki-e requires practice to achieve true mastery. It is the combination of skilled technique and artistic sensibility that brings peace to people's hearts. "I made countless mistakes during my apprenticeship. I polished too much, sometimes until the wood base was exposed," says Mr. Funakoshi with a smile. Those experiences form the foundation of his current work. Because he knows the best look and the most beautiful moment when the gold leaf and gold powder are at their peak during the final polishing.

  • 

    There are dozens of types of brushes alone.

  • 

    Work tools

  I want to convey the warmth of your hands.

  Because everything is done by hand by skilled craftsmen, the amount of work that can be completed in a day is limited. This is precisely why each piece can be imbued with care and attention. "Since these are meant to last forever, not a single line can be overlooked," says the dedicated craftsman, whose sincere feelings are poured into every single line. And in this process, the artistic value of traditional crafts is born.

  

  The process of maki-e (lacquerware with gold or silver powder)

  To make maki-e widely known

  Beyond just Buddhist altars, she creates numerous works with her son, including vases and trays adorned with maki-e (lacquerware with gold or silver inlay). While holding exhibitions such as the "Family Maki-e Exhibition," she also works on new pieces. She enjoys creating a wide variety of items, such as small pouches that can be carried in a bag. With these maki-e-adorned accessories, she can show off her stylish fashion sense to her friends.

  Craftsman Profile

  ​Sachio Funakoshi

  Born November 23, 1940.
  A seasoned veteran with 45 years of experience dedicated solely to maki-e (lacquerware with gold or silver inlay).
  In February 1980, he was certified as a traditional craftsman in HIKONE Butsudan (Household Buddhist Altars) lacquerware category.